ChoreoFest Interview: Nicole Harris interviews Nicole Harris!

Interview by and starring Nicole Harris

Introduction by Aisha Cruse

Photo by Stephanie Sune

ChoreoFest ends TODAY!! We are 2 hours away from the first of this years ChoreoFest performances. To commemorate this wacky festival we've come to love, and finish up our choreographer interview series, we are delighted to bring you Nicole Harris, final third of ChoreoFest super group Paranarium House, interviewed by Nicole Harris, Monkeyhouse Engagement Director and the glue that holds our company together.

Nicole: What made you want to make the move from being a dancer to a choreographer?
Nicole: I've always been interested in choreography. (I can remember some pretty amazing dances to Janet Jackson songs in my back yard way back when. Just ask Monkeyhouse's resident photographer, Jon Keith of JK Photo. He was witness to my genius and did some lip-syncing of his own. It was even caught on film. Too bad VHS went out of style, huh?) I was lucky enough to choreograph my very first professional piece at only 19 years old, thanks to Karen Krolak and Monkeyhouse. Karen has been a mentor to me in many ways over the years, but especially as a choreographer.
In 2011, after suffering a series of strokes, I got out of the hospital with a very hazy sense of what the future of my life as a dancer might look like. While I was determined to do all the things I was once able to do, I also knew it was going to be a long road. I began to really focus on who I am as a choreographer during the initial year of recovery. While I am back to dancing 100% (yay!) I am still enjoying figuring out new approaches to choreography, playing with ways of collaborating with other artists and negotiating the balance of how to coax what you are looking for out of a performer while truly valuing their own voice. 

NQ: What are you most nervous about regarding ChoreoFest?
NA: Holy Cow. The Paranarium House collaboration is feeling SO daunting! Don't get me wrong, I am incredibly excited for the opportunity, but like all new things, it's also scary! Not only will I be co-choreographing with two (incredible) people I have never worked with, but we are going to have 14 dancers. Yes, you read that right. FOURTEEN! That's a whole lot of bodies and voices to negotiate!

NQ: Have you participated in ChoreoFest before?
NA: This is Monkeyhouse's fourth ChoreoFest, although it's only my third. 

NQ: If so, what is your favorite memory of that experience?
NA: I think my favorite memory is from my first year (2013) when I was working with the beautiful Shannon Sullivan. Our piece had a folding table in it, which we found lurking somewhere at the Dance Complex. (Have I mentioned how awesome the Dance Complex is for hosting this shindig? Thanks, guys!) We started the piece sitting at the table playing cards. During our dress rehearsal (after I slept for all of 30 minutes the night before) we started the piece and the table collapsed, sending cards flying everywhere. I am not sure I did more than three shuffles for the rest of the piece I was laughing so hard. It was a complete disaster! Luckily the performances were significantly better and the piece turned out pretty good, despite our technical problems...!

NQ: What advice do you have for new ChoreoFest choreographers?
NA: Give yourself permission to relax. The goal of the festival is NOT perfection. It's about community and the choreographic process. Talk to other companies. See what other people are doing. Give and take feedback. You don't need to pound out 15 minutes of technically perfect movement. Take chances! Have fun! And for goodness sake... SLEEP!

NQ: Are there things you hope to do differently this time?
NA: That's hard to say because every year has been very different for me. The first year I was creating a duet and we were very equally choreographers. The second year I actually didn't even end up performing. I helped Karen with some choreographic bits. And I threw a ball of yarn at Sam Mullen's head. This year is a whole new ball of different, with the Paranarium House collaboration. I'm just excited to see what we get!

NQ: Since this is a very controlled creative space (in terms of time and topic) where do you see yourself starting when you get in the space?
NA: We have already talked about wanting to use lots of improvisation and writing exercises to get us going. Plus, since we are combining three companies, we are going to have lots of getting to know you time at the start! We will also be doing some music making. Everyone has been asked to bring an instrument/something that makes noise. (Watch out, other companies, there are 17 of us and we're bringing kazoos!) So I'm guessing those will come into play real early in the process!

NQ: In creating a new work, what in the relationship between you and your dancers? Do they participate in the creative process? If so, how?
NA: Personally, I try to have a lot of input from dancers. My work is almost always a collaboration. Since we are all different personalities and bodies I don't find it to be useful to make everyone mimic me! (Besides, an army of Nicole's sounds terrifying, doesn't it!?) I always tell my students that I want them to be humans first, dancers second. So my process involves lots of talking and feedback and bouncing ideas around.

NQ: Knowing that Karen Krolak will be on hand as "choreographic guru", what things do you hope she can help with in the overnight process?
NA: I cannot tell you how much I value Karen's guru skills. As I mentioned earlier, she has had a profound impact on my life. She has an incredible ability to ask the right questions to make you look at things in a way you hadn't considered before. Especially with the Paranarium House collaboration, I'm really looking to her as an outside eye/voice to help our trio of choreographers see what we might be missing.

NQ: Who are some of your favorite choreographers?
NA: Oh my. Where to begin? Well, most obviously, my partner in crime, Karen Krolak. However, to keep from sounding like a fanatical broken record I'm going to talk about some other people instead.
First and foremost, I HUGELY admire Michelle Dorrance. Anybody who has ever heard me talk about tap dancing - or dancing of any sort - or choreography - or who have just been in a room with me for more than 20 minutes - has heard me talk about Michelle. She has a brilliant use of rhythm and sound, but more than that she has a true choreographic voice/style. Many tap choreographers can create incredible sounds and rhythmic phrases, but don't capture the breadth of what a piece of choreography can be when it comes staging. As a modern choreographer you learn about planes and levels and character development and a million other things, which can often be incredibly difficult to transfer to the art of tap dancing. Michelle does so remarkably. Right. I was trying to stay away from fanatical... Moving on!
Sticking with tap choreographers for a moment, in recent years I have been following the work of Nicholas Young. He too is telling a story with his work and a strong one at that. He also does has really fascinating electronics that he has been playing with. I strongly recommend you check him out.
I remember the first time I saw choreography that made me want to get inside the mind of the choreographer and learn how to do what he does, while watching Bill T. Jones' Still/Here. I have always been impressed with his use of multimedia/interdisciplinary arts; his willingness to constantly take chances and push boundaries; and, in the early years, to throw away the "dancer body" conventions within his company.
During a rather unpleasant freshman year of college I discovered Doug Elkins. I clearly remember saying to my friend Tina at the time, THAT is what I want to do. I had the pleasure of interviewing Doug last year and had the same thought again. I love his blending of styles, storytelling devices and use of humor. And the man is brilliant. Wow.

NQ: Who are your mentors?
NA: I've already talked about one Karen Krolak...
I have also been lucky enough to study extensively with tap dancers Lynn Schwab and Derick Grant. Both have taught me more than I can ever say and are truly brilliant and beautiful people both in the studio and out.
While there are many other people I could mention, I think I've already had the longest interview by miles, so I'm just going to say one last person.
For twelve years I had the good fortune to work beside Margaret Hagemeister during our time running the drama program at Natick High School. Why she chose to hire me to begin with, a young, nervous choreographer with no real experience to speak of, I have never fully understood. With her ever steady support and guidance, I learned to become a better, more confident teacher, how to be a director and to have a real love and appreciation for musical theatre. Thank you to you all!

NQ: How are you paying forward the things your mentor gave you?
NA: It's funny to say what you've given someone else. I would like to think that I have passed along not only technique and knowledge to my students, but that I've been able to give them the freedom to discover their own voices and the support that has been given to me as I've tried and failed and tried again. I guess you'll have to ask them, though...
No matter what, I think I try to first and foremost make my students understand that they have value. Their opinions have value. Their lives have value. Their fears and triumphs and mistakes all have value. And that I will be here to remind you of that.

NQ: Where can people learn more about you and your work?
NA: Come see me and my Monkeyhouse cohorts at the Multicultural Arts Center on October 23rd/24th! We are turning 15 and building a concert that's really remarkable!

Monkeyhouse can be found on Facebook (Facebook.com/MonkeyhouseLovesMe), Twitter (@m0nkeyhouse), Instagram (@MonkeyhouseLovesMe) and on our website (MonkeyhouseLovesMe.com) As the social media guru/Engagment Director of Monkeyhouse, I am often the voice you hear in all of the above!

Spring Choreo_cUPDATE

The Choreo_Cup has had so many adventures during April! Be sure to follow it on Instagram (@Choreo_Cup) to see where it goes!

What? You aren't sure what the Choreo_Cup is? Here's the scoop. In March, Monkeyhouse started a project called A Year in the Life of a Cup where we ask people to be stewards for the Choreo_Cup (he's the one with the little guy on him). All we ask in return is that you document your time with the cup in the journal that travels with him. You can write poems, doodle, make lists or any number of other documenting techniques that appeal to you. At the end of the year (which just so happens to be Amelia O'Dowd's birthday) we will take the journal and use it as the basis of a dance piece. In the meantime, we have a number of other cups (including Hey Girl and theRehearsal Cup) that we've been playing with in the studio and out in the world. You can follow along with the project on Instagram (@Choreo_Cup).

Want more information? Check out this interview with Karen about the project!

Spring Birthday Double Feature!

by Nicole Harris

I'd like to feature four incredible ladies who have celebrated birthdays this quarter. The first two are Monkeyhouse supporters, Emily Hare and Minna Scholten. While these women don't know each other, they do have one thing in common (besides their love for Monkeyhouse). They each gave birth to another amazing lady just a few months ago!

We are thrilled to welcome Alice Jameson (daughter of Minna and her husband Drew Jameson) and Eleanor Hare (daughter of Emily and her husband Nathaniel Hare) to the Monkeyhouse family! I have been lucky enough to spend some quality time with the Hare family for the last two weekends. Eleanor is a bundle of joy and we could often be found singing and dancing around the yard. Alice joined the world in a flurry of chaos but we are all so relieved and excited that she's made her way home to her parents and is doing wonderfully. I can't wait to meet her!

My First Week on Internship

My first day at Monkeyhouse started off not at all how I expected. Nicole asked me to generate a list of things I would need to budget if I were to hold a dance performance. Of course I came up with the typical list of venue, lighting, sound, costumes, etc; Where Nicole then had me take that list and generate all of the fine details about each bullet point. Let’s just say that the list doubled in size pretty quickly! From there I generated questions that I could ask if I were to go and try to rent a space. Upon learning that I would be going into Boston on Friday to do so, this simple exercise fueled my excitement.

Throughout the week, Karen and Nicole had me work on several different movement phrases. Starting on day 1, I worked with Emily Dickinson’s poem, “One Does Not Need a Chamber to be Haunted.” I took one line from the poem, and created a movement phrase, using letters from the chosen line as inspiration. For the next day, I was asked to record that phrase in two different settings, and bring in a poem that I enjoyed. I brought in a slam poem written by Sabrina Benaim called “Explaining My Depression to My Mother.” I have watched this poem on Youtube multiple times, and on several occasions. I wanted to use this poem because of truthful and harsh reality it has when explaining what it is like to suffer from depression. Karen had me create multiple sets of movement phrases, choosing one word from the poem that is quite repetitive; mom. I worked with different paces, size, planes, and instrumentation to create a set of phrases that I can say I am quite proud of.
My last day of the week was quite an experience. I traveled to South Station by myself to meet Karen and Nicole to go look at venues for rehearsal and performance space. I don’t think it would have been the full South Station experience if a creepy old man had not come over to talk to me, but don’t worry; I certainly got the full experience! Nicole and I visited three locations, all of which were very different from each other. The Dance Complex was wide, open space, with a comforting atmosphere, and looked like your typical performance location. The space where the performances were held was a large "black box." Nothing to grab your attention away from the dancers performing. Although there were a lot of stairs, (!) I thoroughly enjoyed viewing the building, and getting a sneak peek at the ballet class. Green Street Studios was quite the opposite of the Dance Complex. Quite the "hole in the wall" location, Green Street brought an entirely different vibe to the dance world. The space was occupied so it was hard to get a feel of the size of the studios. I can respectively say that Green Street would be a wonderful rehearsal space, as the location feels built for that solely. I do have to say that the Multicultural Art Center definitely caught my attention. Although on the pricier side, I do see why it is a popular venue to hold weddings, with its beautiful ceilings, and uplifting sense of surrounding. I do feel as if this location is more than appropriate for any dance rehearsal/production. The art galleries were just the cherry on top!

National Choreography Month - Day #1

by Nicole Harris

Welcome to National Choreography Month!  To celebrate off this exciting month we will be posting choreography exercise prompts and videos from Aisha (and some other surprise guests!) throughout the month.  We hope you'll be able to see where some of the ideas come from and how different people interpret the same exercise.  

To get us started we turned to a book that we visit OFTEN in rehearsals, when teaching or just when we're feeling stuck.  Karen was lucky enough to study with Lynne Anne Blom during her time at Northwestern.  Lynn's book "The Intimate Act of Choreography" has become a staple for choreography classes and choreographers around the world.  If you don't already have a copy, what are you waiting for?!  It's available through Amazon.  Today's exercise comes from chapter three: Speaking Body

Here is a short excerpt from Lynne leading you through an improvisation she calls Body Discovery:

"Take a look at your hand.  Suppose you'd never seen one before.  Notice the slight hollow on the inside, the lines around the bumps.  I wonder what it can do.  Can it walk?  fly?  jamble?  Come on, hand, try to ripple, spurt, stiffen, quiver, clench, scratch, hang, pulsate, drum, point.  Maybe you should give each part of it a chance to move by itself and show off a bit.  It likes that.  It's getting all excited!  It's hopping all over the place.  Hey, it's running away.  Let it go; go on, get rid of it.  Throw it away.  I mean, really throw it away.  You have lots of other parts.  [Apply this same process to the face, spine, feet, hips, head, etc. One by one, throw those parts away once you've explored them.]"

Interested in participating in National Choreography Month?  GREAT!  We'd love to have you!  Just send your video of today's exercise to Nicole at MonkeyhouseLovesNicole {at} gmail {dot} com or post them straight to Monkeyhouse's Facebook.  (Please note that we will not be able to post videos with content we don't have rights to.  That includes music!  So while you can use Beyonce as your inspiration, you can't actually have her playing in the background.  Thanks!)  Keep an eye out for new exercises and videos on Facebook all month!

Connecting to the Fleur d'Orange Residency

by Ruth Faris

Ruth (right) at the Opening Reception by JK Photo

When Karen invited me over to Ruth's house last weekend for a party to paint a shingle on her new Little Library (which was great fun, by the way.  If you don't know anything about these little libraries, you should check it out!) I immediately thought, oh wouldn't it be great if she could share with us some of her thoughts on the residency!  Ruth is such a beautiful, vibrant, enthusiastic person.  I am so glad Karen introduced me to her!  -Nicole

When Nicole asked me yesterday to write something for the blog about my experiences last week during the Fleur D'Orange residency, and Karen added 'yes you were one of our main supporters,' I felt like 'what, who, ME?....how can I have been seen as being out-front in any way, and what can I possibly say about DANCE?' So, my train of thought developed from that powerful initial response, and I decided I could write on identity (fittingly enough) and community.

When I met Hind at the opening reception at Brickbottom, she asked me something like ‘what kind of dance do you do?’ to which I quickly replied ‘oh no, I am not a “dancer”!’ Similarly, the following night when I went to sign in to the dance workshop at the Armory, the young woman at the door asked something along the same lines, and again I gasped ‘no, not a “dancer.”’ At a party or a club or a wedding, I am the last one up dancing, for the most part, unless I am muscled or guilted on to the floor by a friend. So, clearly, being A Dancer has never been part of my Identity. Ever.

So, why was I even at these events? Well, I was there because I know Karen, and because she had sent some information way back a few months ago about her intention to bring this Moroccan troupe to town. I generally will make an effort to go to something that a friend promotes, where I would be unlikely to go if it’s a ‘cold call.’ Also, I happen to be on the Board of the Center for Arabic Culture, and I help set up a collaboration between CAC and Monkeyhouse…..so, I was thrilled that this was coming about, and had written the dates into my schedule as soon as Karen mentioned them at our first meeting about it. All of this then made it very likely for me to participate….which I think is a truism for organizers of any sort, that the personal connection with someone is the biggest motivator toward attendance/participation.

I step back a bit further; why do I even know Karen, and thereby get this email from her about a Moroccan dance event? Well, I know Karen because we went to Morocco together, twice in fact, as part of a Sister Cities exchange between Somerville and Tiznit. And I grew to love and value her so much over those shared experiences.  And how had I come to be part of those delegations, considering that it was mostly teachers and artists, of which I am neither? …Well, that was because I am a longtime resident of my neighborhood, and had witnessed the Armory over many years….seen it as a wretched mess of a building, serving as an RMV outpost, an occasional bingo hall, and even an actual armory when Reserves units came to muster….then, totally empty and abandoned and looking worse than ever. So, when the Armory was renovated, I was excited to check it out, and went over when I saw some balloons outside in some version of a community open house. Wandering through the building, I saw to my amazement that there was something called ‘the University of the Middle East’ (UME) there, and I introduced myself to the staff member who was there….and probably a year or so later he thought to email to me to let me know about the upcoming Sister Cities project.

All this to say….what, exactly? I’m not sure what I can say that will be of any use or generalizability to others. But being asked to do this did force this train of thought and taught me some things about myself: for me, community is a powerful draw. Left to my own devices, I am happier to stay home and read a book, but if you invite me to something that’s meaningful to you, I might venture out. Also, though I don’t seem it as much these days, I am a shy person, who has only belatedly and even reluctantly learned that putting out a bit of social energy might actually be okay, and even GREAT.

And, that I have a certain fixed idea of my identity, and it takes a whole lot of extenuating circumstances to find myself being a Monkeyhouse cheerleader! When I am around Karen, its possible to feel that I am A Dancer, though don’t say that too loudly.

DUMBO Dance Festival

Nicole and Nikki will be heading down to Brooklyn next week for the DUMBO Dance Festival.  They will be performing Connexa, a piece choreographed by Sarah Feinberg and Nikki Sao Pedro Welch.  All DUMBO Dance Festival performances are FREE and filled with some incredible artists.  So come check it out!

You can find Monkeyhouse on Saturday, September 27th at 3pm and Sunday, September 28th at 4pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St, Brooklyn, NY.

Did we mention they are FREE!?

Happy Yahoo Day!

As you know, we've been having a doozy of a couple of years around Monkeyhouse, which is why we decided to kick off the first newsletter of 2014 (and now share with you) with the spirit of YAHOO! 

Ya-what?, you ask? 
What a fine question! 

Nineteen years ago on February 26th one of our biggest supporters, Zach Galvin, completed his final cancer treatment.  Every February 26th since then he has celebrated YAHOO DAY in honor of those who supported cancer research and who ultimately played a role in his survival.  Now, across the globe friends, family and complete strangers commit random acts of kindness in celebration of YAHOO DAY!

How is Monkeyhouse celebrating?  Well, we've got a few tricks up our sleeves.  First, we'd like to say a TREMENDOUS thank you to all of you for helping us through the past few years, both organizationally and personally.  We are eternally grateful for the love and support you've shared and we are excited to see what 2014 has in store.

Second, anyone who emails me (Monkeyhouse Loves Nicole at gmail dot com) TODAY will get a special YAHOO DAY tourtail sent straight to their inbox.  If you're feeling YAHOO-ish, include how you will celebrate!

For the third one we're going to need your help.  We'd like to spread the YAHOO spirit far and wide this year.  As you know, the arts play an integral part in creating a stronger, happier community.  So take some time this month and add a little art into someone else's day.  Draw a picture and tuck it in your child's lunch box.  Take a friend to a play.  Donate books you've already read to a homeless shelter.  Spend the afternoon with your significant other in a museum instead of in front of the tv.  Go dancing with your girlfriends.  There is art everywhere just waiting for you to discover it and by doing so you can make someone's day that much brighter.

Thank you for being such fearless Monkeyhouse Ambassadors and HAPPY YAHOO DAY!
-Nicole and All Your Friends at Monkeyhouse

Meet Connor Shea!

I'm excited to introduce you to another new intern, Connor Shea.  Connor is a student of mine at Natick High School and I'm excited to work with him on this new dance adventure!  Stay tuned for interviews with Connor and Jacob next week!  -Nicole

Connor Shea is a Sophomore at Natick High School and is beyond excited to begin his internship with Monkeyhouse! Connor comes from a musical theatre background; beginning theatre when he was in 4th grade. He has been in RENT, Legally Blonde the Musical, Once Upon a Mattress, The Drowsy Chaperone, Little Women the Musical, and many more. His favorite performance so far is Mark Cohen in RENT. He found such a strong connection with the character and was attracted to the realness and depth of the overall message of the show; along with the music and script. Connor is not a dancer by any means but is however, eager to learn the skills and technique that it takes to dance. He is so blessed to have Nicole, his choreographer and dance teacher, teach him the ways of dance, specifically tap. Connor is part of Natick High School Drama, along with the Natick High School Speech and Debate team; where he participates in events such as Prose Reading and Poetry Reading. What Connor finds fascinating and astonishing about the theatre community is the people. Connor loves how everyone is so accepting and welcoming! The community and people are a big part of Connor’s love for theatre. This is Connor’s first dance experience outside of a show.  He hopes for the absolute best throughout the entire process and wishes to come out of the internship with a new love and knowledge for dance and theatre communities as a whole!

A Few Words of THANKS from Danny

by Danny Foner

Last year we celebrated the THANKS Giving, a month of saying thanks to just a small number of the people who have gotten us to where we are today.  At the time, our then new intern Danny wrote an article that, with the insanity of the ending of the year, is just now seeing the light of day.  (Sorry, Danny!)  So, as we head into 2014, here are Danny's thoughts on thanks, music and collaboration.  -Nicole

p.s.  Congratulations, Danny, on getting into Emerson!  I'm glad you'll still be in the area next year!

As this month of THANKS Giving winds to a close, I’d like to take a moment to express my own gratitude for how Monkeyhouse has impacted me. Namely, I’d like to give thanks for my experiences as a co-leader of Natick High School’s a capella group, Seven’s Not Enough, and our collaboration with Monkeyhouse’s own Nicole Harris. We’ve had the opportunity to work with her on two separate projects, each of which have expanded my appreciation for the powerful relationship between music and dance.

Seven’s Not Enough’s connection to Monkeyhouse began around two years ago, in my sophomore year. I was a part of the fall show at Natick High School, which was to be a musical revue, celebrating the 50-year history of the old Natick High stage. Nicole asked me to arrange an a capella version of “Winter’s on the Wing,” a song from The Secret Garden, which would be set to body percussion. The finished product was an absolute joy to perform. The pure, acoustic nature of a capella combined with body percussion perfectly matched the theme of the song, winter thawing into spring. That experience was one of the most profound moments I’ve had on the Natick High School stage, and for that, I can’t thank Nicole and Monkeyhouse enough.

photo by

However, the story doesn’t end there. The next year, Nicole was back with another project. Combining with a local youth company, TAProject, Seven’s Not Enough sang James Taylor’s “Shed a Little Light,” as arranged by former intern David Makransky and choreographed by Nicole. After a few weeks of practice, we performed the piece at Chelsea High School for Against the Odds. The music, paired with the choreography, told a story of how the “ties between us” can create a community from complete strangers. As a matter of fact, I had never met some of the TAProject dancers in my life, but as the last chord faded, it was unmistakable that we had shared an extraordinary experience. Through that performance, I gained an immense respect for how music and dance, when combined, can send a tangible, powerful message. Thank you, Nicole, for giving me this understanding, and thank you, Monkeyhouse, for connecting us and providing the opportunity for all of this to happen.

So, what are you thankful for? Let us know on Facebook!

Getting to Know Ninette Paloma

I am fascinated by aerial dance so I was thrilled to interview Ninette Paloma of La Petite Chouette aerial dance company.  They are coming to the CoolNY 2014 Dance Festival from Santa Barbara for performances on Friday, February 7th at 7:00pm & Saturday, February 8th at 9:00pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE! -Nicole

photo by Onno Sweep

N:  As a tap dancer I find myself constantly facing the challenge of venues who do not want us to use their floors with tap shoes on.  I can only imagine finding venues open to aerial dance is infinitely harder.  How do you work around those issues in applying to festivals and creating your season?

NP:  Ah yes, working in the genre of aerial dance means the first thing you will always do when walking into a room is look up. We’re constantly suffering from height and structural beam envy. Having a solid working knowledge of your rigging needs and an extensive back of house vocabulary is key when taking your work outside of your studio walls. There’s nothing a Tech Director loves more than to work with an artist who knows her way around a grid and stage battens, rolling up her tights to secure span sets when other artists might be powdering their noses. As a director, I make it a point to visit every stage before signing a contract and establish a very quick relationship with all of the stage hands. Back of house techies have a special place in my heart, they geek out as much as we do.

photo by Onno Sweep

N:  The mainstream popularity of any art form can both help and hinder the growth of that art form.  How do you think the world of aerial dance has changed with the popularity of circus shows like Cirque du Soleil in recent years?NP:  I believe Cirque du Soleil played a fundamental role in ensuring that the tradition of circus arts lived on for a new generation to experience. Although their focus on musicality and physical theatre may have echoed the work already being created by smaller companies throughout the world, their popularity encouraged artists to explore even broader ways of re-defining this ancient art form. Our aerial dance company focuses specifically on the relationship between floor and aerial movement, whereas another company might blend commedia dell’ arte with acrobatics. Like Ballet is to Modern Dance, so too are our fundamental roots firmly recognized. Our roots just happen to be steeped in red noses and pachyderm poop. This is not necessarily a bad thing. 

N:  It sounds like the circus arts have been in your life since you were a teenager.  What got you started?  What do you recommend for people interested in the circus arts but who aren't lucky enough to live near a school like yours in Santa Barbara?

photo by Onno Sweep

NP:  Come now, who wouldn’t want to learn the intoxicating art of aerial dance in 75 degree weather against a backdrop of the Pacific Ocean and Santa Ynez mountains? We’re hosting the 2014 Santa Barbara Contemporary Floor to Air Festival next month, where eight international  aerial dance companies will join us for a week of workshops and performances. The disproportionate number of snowbirds heading to our Santa Barbara shores is both charming and telling, and I don’t blame them one bit, it’s freezing everywhere else! 

 

As for how I got started, picture a whisper of a girl, barely eighteen, disenchanted with competitive gymnastics, and bored as rocks. I walked into an open audition for a local Midwestern circus and everything shifted for me in that moment. Fast forward to 2014 and- what’s the opposite of bored as rocks- because that’s what I am today. Everything about this art form speaks to my well-being, even the painful, trying, tedious moments. That’s when you know you’re leaning into the right thing.

 

photo by Onno Sweep

N:  People in the arts often develop strong mentor/mentee relationships.  Did/do you have a mentor throughout your career?  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  How do you feel those relationships change your work? NP:  I’ve been turning this subject over in my head for the past few months as I prepare one of my longest standing students for a major audition. Eight years ago, she walked into my studio without a dance, gymnastics, or athletic background, only a fierce determination that today, seems to burn brighter than ever before. If I step back to take in the role I’ve played in her development, observing her evolution from a shy and careful girl to the bold and confident performer that she is today, I am filled with more joy than I could possibly ever contain within the span of a sentence. Throughout my career, I’ve had the privilege of working with innovative pioneers of the aerial dance movement, and though my time with them was invaluable, it was also short-lived because during those days, aerial studios and companies were spread out thinly all over the world. To be able to work one on one with a student, observe their strengths and challenges, and tailor your approach to their evolving needs is both hard work and wholly rewarding. In a sense it’s a consistent reclamation of passion, as I am reminded every day how invaluable this developmental process is.

Meet Jacob Rosen!

We are excited to introduce two new interns for 2014 and welcome back an old one!  First, meet Jacob Rosen.  Jacob has been a student of Nicole's at Natick High School for two years now.  He is a hard working, dedicated performer who is always thinking.  We're excited to have him around Monkeyhouse!

Jacob Rosen is a Sophomore in High School and an impulsive performer. In addition to theater he is involved with multiple choral ensambles, including the Natick High School Advanced Choir and the Natick High School Mens "Style" Ensamble. Jacob is also a member of the Natick High School Speech Team, where he has placed and thrived in events such as Humorous Interpretation, Play Reading and Dramatic Performance, also qualifying and competing in the National Catholic Forensic Leagues National Tournament of 2013. He is more than ecstatic about interning at Monkeyhouse. Jacob was privileged enough to be dancing and jiving with what appears to be grace in school productions under Nicole's wonderful and honest choreography for 2 years now. He is a true believer of the quote "A dream is only a dream until you make it real." It does not matter to him that the quote is spoken by Harry Styles of One Direction, it still rings true to him. Jacob loves Mokeyhouse and he doesn't care who knows. A child prodigy whom remains undiscovered, he would like to thank his Mother and Father for obvious reasons and others reasons that are not so clear. Also he would like to thank those who gave him this wonderful opportunity, Nicole and the wonderful company Monkeyhouse.

Getting to Know Ted Thomas and Thomas/Ortiz Dance

In celebration of our upcoming performance at the CoolNY 2014 Dance Festival Monkeyhouse has spent some time this winter interviewing other choreographers who will be joining us in Brooklyn at the end of the month.  Our second interview was with Ted Thomas, Artistic Director of Thomas/Ortiz Dance.   Based out of New York City, Thomas/Ortiz Dance is a contemporary dance company under the direction of Ted Thomas and Frances Ortiz.  You can find them performing at the CoolNY 2014 Dance Festival on Thursday, January 30, 7:00pm, Saturday, February 1, 7:00pm & Saturday, February 1, 2:00pm.  All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

Elyssa Dole by Lois Greenfield

N:  Your company bio talks about there being 12 dancers. Have you always worked with the same group or do you intentionally keep the number at 12 as you lose and add dancers? If so, what makes 12 the magic number?

TT:  The dancers do change from time to time, but in order to present a full, well rounded evening of programing of our repertory we need 12 dancers. Our larger group pieces have 10 dancers, so we still leave dancers to entertain the audience while the 10 that just performed or about to perform, change and get ready. 

N:  Thomas/Ortiz Dance has two artistic directors, yourself and Frances Ortiz. How did you and Frances meet? 

TT:  Frances and I meet in college at Purchase in 1991. We became close friends while rehearing the Nutcracker. We then followed each others career for fifteen years until finally marrying in 2006. 

N:  What prompted you to create a company together?

TT:  We've always shared a love and passion for dance, so moving and creating movement became the fabric of our relationship. A conversation we could always have, whether for fun or work. We dance together all the time. We teach in our ballet school in CT of 500 student together. We rehearse and choreograph ballets on our pre-professional company of 25 dancers together and we challenge our creativity with professional dancers and pieces for mature dance lovers through Thomas/Ortiz. 

N:  Every artistic team has its own style and methods. It appears that you have pieces choreographed by each of you individually as well as work created together. Do you have input on each other's work even if you aren't specifically involved? 

TT:  Yes, we ask each other for advice or opinions on our separate dances.

N:  How do you create work as a pair?

TT:  It varies, but mostly we tag team, she'll go in to rehearse one day, I'll go in the next, back and forth then when the outline is laid, we'll go in together and sculpt it. We each have our strengths.

N:  People in the arts often develop strong mentor/mentee relationships. Did/do you have a mentor throughout your career? 

TT:  For myself, Carol Walker of Purchase College and Dr G Scott of NYU.

Getting to Know Peggy Choy

We are excited to present the second interview with artists from the CoolNY 2014 Dance Festival.  Today we'd like you to meet Peggy Choy.  Peggy Choy Dance will be performing at the CoolNY 2014 Dance Festival on Friday, January 31, 7:00pm and 9:00pm, Saturday, February 1, 9:00pm & Sunday, February 2, 6:00pm All performances are held at the WHITE WAVE John Ryan Theatre, 25 Jay St., Brooklyn, NY and are FREE!

Photo of Peggy Choy by:  Steve Eliasen

N:  Monkeyhouse is very interested in education and community development. Can you tell me a bit about THE KI PROJECT?
PC:  The mission of The Ki Project, Inc. (a not-for-profit organization) is to support creative thinking and intercultural performance for future generations. The Ki Project has supported not only the performances by the Peggy Choy Dance Company, but has also supported innovation in performances by emerging groups based, for example, in Cambodian and Hmong communities--two distinct Southeast Asian communities.

N:  The idea of using the performing arts to discuss topics like history, economics and health is fascinating. In what ways do you feel like you are seeing the change to a more sustainable future in your own life?
PC:  “Ki” refers to the inner life-force energy in Korean language (“qi” in Chinese) that is at the center of Asian dance forms and martial arts. This energy is sustainable and renewable and connects with the focused and clear mind that is a root inspiration for me. It is my hope that through my dance I can communicate this powerful energy to the upcoming generation.

N:  Many dance companies these days have trouble passing the five-year mark, yet Peggy Choy Dance has been going strong since the mind 1990s. What is your secret?
PC:  A vision of social transformation and revolution has consistently fueled my dance expression. I often raised my own funding so that I could create work that was not following the mainstream, or what someone else wanted. Since I had to balance creating dance with working and bringing up two children, I had to be patient and have a longer timetable for completing a dance work.

N:  Do you have any tips for young choreographers who are starting companies today? 
PC:  Define a vision for the future beyond your own individual lives, and fearlessly follow your vision.

N:  Both of the pieces you're presenting at the CoolNY Dance Festival are inspired by Asian dance and the Afro-Brazilian martial art of capoeira. Can you talk about how you began working with those two styles?  

Ze Motion, Eugene "Spydey" Jordan,
Gabriel "Kwikstep" Dionisio, Victor "Kid
Glyde" Alicea, photo by Julieta Cervantes

PC:  I should clarify that Asian dance is not a “style”—it’s a general category. In my choreography, Asian dance influences have been specifically Korean dance and Javanese dance forms that I began learning in the 1970s—first in Hawai‘i and then eventually traveling to Korea and Java. I have long been interested in martial arts—I also began learning Chinese taiji quan in the ‘70s. I became interested in learning capoeira as a martial art—inspired by my company members. I was excited when I found that capoeira not only satisfies my love of martial arts but also my love of dance. There are fascinating areas of overlap with taiji quan, including movement that is circular, and a balancing of right- and left-sided movements. There are deep cultural, social and even political histories that one learns that are integral to understanding all of these forms.

N:  Are there things from each that naturally lend themselves to being put together?
PC:  The martial arts logic of avoiding oppression or domination is present in both taiji quan and capoeira. The continuous flow of movement and energy that is found in Korean dance is also found in capoeira. With Javanese dance, there is circularity but it is more contiguous in isolations of the joints. 

N:  Are there things that make the blending more difficult? 
PC:  Whereas the dance forms mentioned and taiji quan upright, with capoeira, one is continually moving from an upright stance to inversions. The fusion is not more difficult but more interesting! 

N:  People in the arts often develop strong mentor/mentee relationships. Did/do you have a mentor throughout your career? 
PC:  I don’t think I have had a close, long-term mentor. I’ve had to do my own exploration without much guidance.

N:  Do you have a person or people that you have taken the mentorship role for now that you're a more established artist?  
PC:  I try to help and support artists who come into my life—particularly those artists who have worked with me more long-term. 

N:  How do you feel those relationships change your work?  
PC:  I appreciate and respect these artists as unique unto themselves, with a knowledge that is their own. I learn from them as I discover the depth of their own wisdom, and my work gains from this synergy just as I hope they are transformed in some small way.

My Favorite Things!

by Marie Libbin

Months later, we are still hearing about people's favorite moments from the Against the Odds festival. This one came from one of our interns!

Photo by JK Photo

It's difficult to choose my favorite Against the Odds moment, simply because each performance had a completely different dynamic than anything I'd ever seen. Rather than just focusing on technique and clarity, these performers also added a unique sense of originality and creativity into their numbers. However, if I had to pick one favorite moment, it would be the solo Caitlin Meehan set on Nicole. My eyes immediately filled with tears, as I watched her own the room and dance so beautifully. Nicole is one of the strongest people I know, and is such an inspiration to myself as well as many other artists. She is living proof that it is possible to work through obstacles and accomplish your goals if you just put your mind to it. Against the Odds was filled with inspirational performers, supportive audience members, and a common love for the arts, and ended up being a successful and beautiful weekend that I was honored to be apart of

24 Hour Choreofest!

by Shannon Sullivan 

 

Back in May, when Nicole Harris asked me to jump on board Luminarium's 24- hour ChoreoFest I was very excited.  My initial thought was that this was a fabulous opportunity to work with Nicole. I also love performance venues that provide opportunities to bring different dance forms together.  

As August 16th quickly approached, however, my enthusiasm was equally matched with trepidation.  One of the major factors that I left out when I made my decision to join this project was the fact that I do not pull all-nighters.  How in the world was I going to function well enough to choreograph into the wee hours of the morning and also tap the next day?  I would love to say that the creative process carried me into the wee hours with endless enthusiasm, but my short and more realistic response is that I accepted that I was going to be tired, I tried not to wallow in my tired state, but I was indeed exhausted by the end of our performances.

Photo by Ryan Carollo

Aside from fatigue, the second greatest challenge that I faced was creating a dance piece while our music was simultaneously being composed.  David Wechsler, the composer for our piece, was actually working from his studio in Chicago.  This made transmitting ideas and sharing in the creative process a bit more difficult than if we were all collaborating in the same space.  I had never worked in this manner before.  Typically, I use recorded music or if I am performing with live musicians, we are "working it out" and sharing ideas in the same environment.  As someone who is truly inspired by music and the energy of live musicians, this forced me to approach the creative process from a totally different angle.  I'm not sure that I liked creating in this way, but I can say that David did a brilliant job composing and in the end, I loved the union of both the music and dance.  

 

Lastly, though I have known Nicole for years and have always applauded her work, I have never had the opportunity to choreograph with her and it was a wonderful experience.Though we have walked in many of the same dance circles, we each have a very distinctly different style and "voice" in tap dancing.  It was a pleasure to learn from Nicole and to gain a glimpse of her choreographic process.  I hope to someday do this again in a more relaxed environment.

My final thoughts and what I'll take with me after watching Luminarium's 24-hour ChoreoFest performance was that we have many very talented dancers and choreographers in Boston.  I appreciated that we were all able to share the same stage in this adventure and I hope our paths will cross again. 

Monkeyhouse Loves Natick High School!

by Katelyn Alcott

Monkeyhouse and Natick High School are like a peanut butter and dance sandwich eaten quickly in the brief time between classes and rehearsal.  We have had a long standing relationship with the school and its community and are constantly amazed by the things that this wonderful group of students accomplish.  

Monkeyhouse has many ties to the drama program at Natick High School, including alumni, interns and Nicole Harris's choreography for the musical productions.  The students have performed at Monkeyhouse events and both Sarah Friswell and Sarah Feinberg were once part of the drama program. 

Many of Karen's students from Impulse Dance Center have also been NHS students.  This  past year Monkeyhouse had six student interns from Natick High School, Marie Libbin, Rosie Steinberg, Laila Fatimi, David Makransky, Katelyn Alcott and Elyssa Berg.  Laila, David, Katelyn and Elyssa are all graduating seniors headed to college in the fall. Laila will be attending the University of Maine, David will be attending Boston College, Katelyn will be attending Wagner College and Elyssa will be attending Virginia Commonwealth University. Best of luck to the graduating seniors! 

Our ties to Natick High extend beyond the students.  You might remember vice principal Zach Galvin who was the emcee for last year's Your Just Desserts!  And our audiences are always peppered with NHS faculty and staff.

You can see more of these outstanding students throughout the year.  Whether you check out school performances of the drama, band and choir programs, student run groups such as Seven's Not Enough, or their out of school arts adventures which are numerous and wide ranging - you will constantly be impressed by the talent that comes from these young people.  What have you done to show your support of young local arts today?  

Getting to Know Felipe Galganni

by Nicole Harris
Earlier this summer I spent some time in New York City working on Tap It Out with the amazing Lynn Schwab and the folks from the American Tap Dance Foundation.  While there I had the opportunity to get to know an brilliant young tap dancer and a all around fabulous guy, Felipe Galganni.  Since moving to New York from Brazil three years ago Felipe has been busy teaching, choreographing and performing all over the city.  While in town I got to see the premiere of his piece "Reverie in Rio", performed by Felipe himself alongside Lynn Schwab and Chikako Iwahori and singer Jackeline Ribas.  Here is a little conversation with Felipe about his work, moving to the United States and dancing in a foreign language!  Also, Felipe celebrated a birthday last week, so make sure you send your love!

 NH:  Who are your favorite choreographers (tap & otherwise)?
FG:  Chikako Iwahori, Brenda Bufalino, Max Pollak, Lynn Schwab, Michelle Dorrance. I love Bob Fosse.

NH:  I know that meeting Heather Cornell had a big influence on your life.  What is it about her work/dancing that speaks to you?
FG:  I met Heather in January of 2010. I am from São Paulo (BRA), and she was teaching a workshop in Rio, so I flew to take that.  São Paulo is not the most tap dancing city in Brazil so every time someone came to the area I tried to go.

When I met Heather I instantly felt in love. Her kindness, humbleness and the way she talked about tap dance and music inspired me so much that I decided I wanted to take her summer intensive, here in NY.  I think it's a Master thing, this power of inspiring people! Two months before I come I decided to sell my car and move to USA. Here I am since then.

NH:  I know you grew up studying other forms of dance besides tap.  Do you still take any of those classes?  Do you feel like having studied jazz etc. has had an effect on your tap dancing?

FG:  I grew up dancing samba like most Brazilians. And academically taking jazz, later tap, ballet and contemporary. I was never a strong ballet dancer but I feel it was very important to develop some basics,  like turns and balance. And even to "awake" the upper body as a tapper.

 
NH:  You recently told me a wonderful story about your first pair of tap shoes and your subsequent first tap class.  Can you share that story here?
FG:  Sure! When I was 14 years old I got some money from my family as a birthday gift. So I decided it was finally my chance to buy a pair of tap shoes. I was always putting them on to "practice" and even to do performances at school. Without having ever taken class at that point.  

So when I was 15, I finally find a school that I could go by myself and take a tap class. I remember it was not very affordable for my family, but they know I really wanted to do that. So they supported me.  When I got in class the teacher came to me and asked: "have you ever tap danced before?" and I said , very confidently "YES!"..."oh, so please show me your favorite step"... And I started my very unique style of tap. Later on she told me that it was the most funny experience she have ever had.  Her name is Valeria Petroni, and she was an amazing instructor for those first tap years. I am very thankful of all I learned from her.

 NH:  Can you tell me about the tap community in Brazil compared to New York?
FG:  As I mentioned before, I am from São Paulo and the tap dancing scene is pretty small in there. I was always traveling to another cities, or bringing people to teach me and my tap friends.  New York tap community is big!  Just so you have and idea, in Brazil I had situations that I had to explain to people what tap dance is.  The community is growing though. Go Brazil !!!
 

NH:  It has now been three years since you moved from Brazil and in talking to you you would think you'd been speaking English for much of your life.  Can you tell me about teaching in the early years in New York when your English was much shakier?  What sort of tools did you use to communicate in moments where language failed you?
FG:  I remember the fist class I taught here in US. It was for Lynn Schwab at Steps. It's hard when you have to communicate in a foreign language to native people, and explain stuff that you're so use to in your first language. It was a little frustrating, but I had to work on that, not been afraid to say the words wrong, and also asking the students in the class and learning from them.
 
But honestly my English still pretty shaky, and sometimes language does failed on me. Like in today's class the only way I found to tell my students what I wanted to express was "imagine you're wearing a baby diaper" and then later on I said "put your diapers on"... and of course by the end of the class I reinforced: "Don't forget your diaper for next week". LOL. It's fun!