Tuesday, October 4, 2011
Every Step You Take- a review
Monday, October 3, 2011
Brandon Cournay 'chassé ball changes' from Julliard to become a dancer at Kegwin + Company and Morphoses!
Brandon Cournay is originally from Detroit, Michigan. He has danced with the Mark Morris Dance Group, and Kegwin + Company Extended. Brandon has performed the repertoire of Twyla Tharp, Ohad Naharin, Lar Lubovich, and Nacho Duato. Brandon has also performed in the Radio City Christmas Spectacular and has appeared in commercials for Puma and Target. Brandon received his BFA from The Juilliard School.
You can see him in action at the Joyce Oct 24-30th in Morphoses production of Bacchae.
Additionally, follow his adventures through his social media links:
Facebook: http://facebook.com/brandon.cournay
Twitter: http://twitter.com/#!/Brandon_Cournay
When did you first begin dancing?
- I have been chassé ball changing since I was ten years old. I signed up to do a musical theatre camp at my school and after that, I was hooked. I became obsessed with my teacher's Capezio jazz sneakers... So, I talked my parents into getting me a pair. You better believe I wore them to school, no shame.
What style of dance do you prefer and why?
- I prefer anything that is physical, organic, and inspiring.
Who have you worked with in the past?
- I am having this really cool journey performing in both commercial and concert dance. Professionally, I've worked with the Chase Bock Experience, Mark Morris Dance Group and I'm currently dancing with Keigwin + Company.
- While in school, I had the honor of working on creations with Matthew Neenan, Nicolo Fonte, and Larry Keigwin. When we would learn pieces for our repertoire concert choreographers such as, Mark Morris, Lar Lubovich, and Ohad Naharin all came in to help set and coach their pieces that we were performing. It was such an amazing experience to learn and work with the creators of such brilliant works.
Who do you aspire to work with in the future?
- I'm really inspired my choreographers such as Aszure Barton, Crystal Pite, Peter Chu, Hofesh Shechter.
- I want to work with anyone that is really pushing the envelope in dance. I'm really interested in working with anyone who is creating something inventive, imaginative, and accessible.
Being a freelance dancer, how do you earn your living, ie: do you have side jobs
or skills you utilize for income?
- Teaching and choreographing are what I consider my ‘side jobs.’ I really enjoy it though, so I rarely consider it work. Which is cool. I also judge for dance competitions on the weekends.
Have you attended college or another kind of training? What/where?
- I received my BFA from Juilliard in 2009.
What is the most challenging thing about your career?
- I'd have to say the most challenging aspect of my career is living a balanced lifestyle... in sort of a "work hard/play hard" kind of way. As artists we are constantly on, constantly learning and exploring; sometimes whether we like it or not. Specifically for freelancers self-motivation is vital, our schedule and intentions change daily. It's easy to cram your self- planned day with tons of classes, auditions, and rehearsals to benefit your work and not take anytime for yourself... And vice-versa. It took me a long time to learn that taking a little time for yourself can benefit your work inside the studio tremendously.
- It took me a long time to learn that guilty feeling of skipping your 10am ballet class to go see the new Twilight movie will soon go away. I stress the time in this scenario because we all know that movie tickets are only $6.00 if you go before noon. Paying for a full priced movie ticket as a freelancer in New York emphasizes the obvious and biggest challenge that plagues us all... Finances.
What do you feel and think when you’re on stage?
- On stage, I try to sensitize my whole body as much as possible. I like to pretend I'm performing in a theatre that's 360 degrees around and that the audience is seeing me at every possible angle. Even if the choreography has a specific direction, to me there is no front. I want to know and feel what my leg bones, arm muscles, ribs, fingers, eyes...etc. are doing at all times, wherever they are in space. When I bring awareness to my whole body I feel I am able to communicate better as an artist. It's no longer about executing steps physically, but about how I am using my instrument, my entire body to embody and enhance the artistry of the work.
How do you keep yourself motivated and maintain creative thinking during your
off time?
- I like to see a lot of dance. I think it's important to educate yourself on what you like and what you don't... and more importantly, WHY you like or don't like something.
- I also listen to music a ton, the little dancer in my head is constantly improving to something up there.
What is the most valuable advice you have received from a teacher or
mentor?
- Risa Steinberg, one of my mentors at Juilliard, was talking about evaluating feedback about your work. She said that if someone loves your work... awesome, if someone absolutely hates your work... awesome, but the problem comes when someone leaves the theatre without having an opinion of your work. I thought that was a very interesting statement.
What element, theme, or character from the Bacchae do you relate to most?
- I relate most to the ever evolving pace and flow of the Bacchae. As well as the inspiration of the work, always looking forward to try something new.
What is the best/funniest/most challenging experience of the rehearsal process
thus far?
- Best- Creating with such amazingly talented, diverse, and inspiring artists everyday. It’s been an honor to work and learn from such an eclectic group of dancers.
- Funniest- Karaoke night!
- Most challenging- Scooting up the stairs. At the Vineyard my thighs were so sore, I could barely walk!
For more information on Morphoses's production of Bacchae go to:www.morphoses.org
Saturday, October 1, 2011
Morphoses dancer, Gabrielle Lamb, shares her thoughts.
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Photo by Ken Kramer |
Gabrielle Lamb is a native of Savannah, Georgia, and was trained at the Boston Ballet School. She joined Les Grands Ballets Canadiens de Montreal in 2000 and was promoted to soloist in 2003. Since 2009, she has been living in New York City and performing with Morphoses and Pontus Lidberg Dance. Her repertoire includes principal roles in works by George Balanchine, Christopher Wheeldon, Peter Quanz, Jiri Kylian, Mats Ek, Ohad Naharin, and Nacho Duato. She has also created leading roles in new works by Shen Wei, Stijn Celis, Pontus Lidberg, and Mauro Bigonzetti, among others.
Ms. Lamb is also a choreographer as well a self-taught video artist and animator. You can see some of her videos here.
For more information go to Gabrielle's personal website.
When did you first begin dancing?
- I started dancing when I was 4, but hated it because the tights were so annoyingto put on. So I quit and then restarted the next year.---somehow I got over thetights issue.
What style of dance do you prefer and why?
- I prefer any kind of dance which originates with the intention to communicate andconnect. The more I learn, the less interested I am in virtuosity for its own sake.I want to be able to let go and become someone else onstage, not to spendthose precious moments worrying about steps.
Who have you worked with in the past?
- I've been lucky enough to work with a lot of talented choreographers and stagersin the past. Some of those are: Natalia Makarova, Sylvie Guillem, Mats Ek,Ohad Naharin, Christopher Wheeldon, Shen Wei, Peter Quanz, Stijn Celis,Pontus Lidberg….not to mention all the fantastic dancer colleagues who haveinspired me over the years.
Who do you aspire to work with in the future?
- Other artists who open new pathways in my mind, no matter what discipline theybelong to. A dream list might include Crystal Pite, William Kentridge, RobertLepage, Michel Gondry.
Being a freelance dancer, how do you earn your living, ie: do you have side jobs
or skills you utilize for income?
- I choreograph and teach sometimes. I am also a self-taught filmmaker andanimator. I worked as the company videographer for Les Grands BalletsCanadiens when I was still dancing there, and I've also done work for Morphosesand BalletX. I'm preparing for a project with the Dance Theatre of Harlem.
Have you attended college or another kind of training? What/where?
- No. I've taken a few classes in film, but generally I prefer teaching myself.
What is the most challenging thing about your career?
- Keeping a sense of the long-term. It's too easy to get crazy about a small injurythat may be gone in two days---or a temporary lack of work---or the challenges oflearning new choreography. What seems impossible today often improvesovernight, so I've had to learn to back off being so rough on myself when I can'thave what I want straight away.
What do you feel and think when you’re on stage?
- If I'm in the space I'd like to be in, I feel like time slows down and I can befearless. In the best moments I'm very conscious of the sensations in my body,and I imagine being able to communicate those sensations to the audience. It'slike there's a line of communication that runs underneath the floor of the stageand branches out to every seat in the house. If I'm not quite there, then I'm justjudging and chastising myself and thinking about what just happened or what'sabout to happen 5 seconds from now. And I imagine that on those occasions theaudience feels somehow less connected as well.
How do you keep yourself motivated and maintain creative thinking during your
off time?
- I don't have much off-time. I always seem to have some project to work on orthink about. On the less fun side, there is always email to reply to or schedulingto do.I do yoga every day, and unless I"m really on vacation, I take ballet class atleast 5 days a week.
What is the most valuable advice you have received from a teacher or mentor?
- I was feeling envious of another artist's talent----and despair of ever being able toapproach her accomplishments. I expressed this to a friend and fellow dancer,who wrote to me,"Use her journey as a template for what you want, the beauty of being yourself and expressing it to your full ability"…This really made an impression on me---it reminded me to stay on my own pathand follow it as far as I can, and not to get hung up thinking I'm on the same pathas any other single person.
What element, theme, or character from the Bacchae do you relate to most?
- I do an improvisation which is composed of asymmetrical arm movements whichevolve into symmetry. When I'm asymmetrical, my attention is very fragmented,and when I achieve symmetry I become more focused, as though I'm makinga new connection between already existing ideas in my mind. This for me is aninteresting physical expression of the way that consciousness and creativitywork: disconnected streams of thought which with practice can become focusedand aligned.
What is the best/funniest/most challenging experience of the rehearsal process
thus far?
- The best part of the experience thus far has been working with a group in whichevery single person has something truly special and different to offer. I've beenworking a long time, and I can say that it's pretty rare to be in a group where Ican watch and be inspired by everybody. Every day in class and rehearsals Isee coordination and phrasing that I'd like to steal and try to make work on myown body.
For more information on Morphoses's production of Bacchae go to: www.morphoses.org
Monday, September 19, 2011
Biopsychosocial factors in injury: From an artist's perspective.
Thursday, September 15, 2011
College for working dancers.
But a dancer's career is short, and the benefit of a degree can have a profound effect on transitioning into the civilian workforce. Certainly going back to college after a dance career is an option, but now there are also programs which enable dancers to continue working in their professions while going to school.
One great option is a program called LEAP- Liberal Education for Artistic Professionals. It is a program affiliated with St. Mary's College in California; a small, private liberal arts college. Over 300 dancers have obtained their degrees through the LEAP program in LA, San Francisco, and New York. There are also plans to expand the program to Las Vegas and Chicago.
The LEAP website states, "Founded in 1999, LEAP makes it possible for these working adults to receive a comprehensive liberal arts education and earn a Bachelor of Arts degree from Saint Mary's College in 3 to 4 years of part-time study. Courses are offered at convenient times and locations and the program's flexibility encourages dancers to pursue individual interests and explore different disciplines. Our alumni have continued on to graduate studies and successful new careers in a variety of fields."
For more information, email leap@st-marys-ca.edu or call 866-306-0395. Or you can post a comment or email me as I am a proud student in the program and intend to graduate next spring!
Saturday, May 7, 2011
Great Event hosted by Dance/NYC and the Taskforce for Dancer Health
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Dance/NYC is grateful to the Abrons Arts Center for hosting this event. Dance/NYC Town Hall Meetings are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. The program is also supported by the New York State Council on the Arts and the National Endowment for the Arts. | ||