"UnRavel"...Tracie Stanfield

As artistic director and choreographer for Synthesis Dance Project in NYC, Tracie Stanfield has honed a unique aesthetic that blends highly technical proficiency with a deeply emotional, visceral sensibility. Her dancers are strong, physical, feminine and intelligent...they are equal parts athlete, artist and poet. The choreography that Tracie creates for her company is always consistent to this high standard and never offers anything less than polished professionalism and raw, human honesty. The piece "UnRavel," is one of Tracie's signature pieces and is a wonderful introduction to her style and choreographic perspective.


MUSICALITY: The key to understanding Tracie's movement, is rooted in the notion of textured layers. Within this musical selection by Angélique Kidjo, Tracie is able to identify the sustained, lyrical, elongated phrases, and the more percussive, beat-driven lines. Then she begins to weave the two elements together to create a dance tapestry that incorporates both seamlessly. A good example of Tracie's distinctive percussion, can be seen at (1:44-1:47) where the foot-beats on the floor interplay with the plucking pizzicato mandolin strings. And yet, even as the choreography is pulsing into the floor, the port de bras (arm movements) are fluidly engaging the folds and waves of the red fabric. It is a beautiful yin yang relationship between divergent movement qualities. In addition, Tracie has a keen sense of organic rise and fall, knowing how to pace the tempo for maximum impact at the end. Orchestral composers realize the importance of an overarching crescendo that steadily builds to a peak, and then resolves the tension with recapitulation. In Tracie's case, she follows the music's direction and gradually increases the speed and intensity of her dance, until the very end, in which we are treated to an exquisite burst of dynamic turns. The final moment is punctuated in a finely conceived manner...a subtle, but extremely effective facial close-up, that is like an exclamation point at the conclusion of a fiery sermon. Tracie's command of tempo and pacing is powerful and completely satisfying

DANCER SYNC: For choreographers of this caliber, watching the clean transitions can be informative and educational. Maintaining a dance company is challenging work, and it behooves the choreographer to create movement that keeps the dancers injury-free. However, dance as an art form, relies heavily on illusion (e.g. a pointe shoe has structural reinforcements within the shank so that the weight is distributed and the toes are supported, even though the audience may suppose she is actually balancing on the bones of her toes) and giving the impression of "danger" or instability. Therefore, Tracie is careful to construct sequences that "look" as though they are just inches from the edge, when in reality the dancer is always safe and protected. Look at (2:40-2:42) and you will see that the dancer kicks to the sky and the falls to the ground. However, her left hand (albeit hidden to the audience), makes contact with the floor first and breaks the impact of the fall. This type of intelligent design, with the benefit of technically trained dancers, makes many "impossible" feats both safe and practical.

AUDIENCE ENGAGEMENT: Interior design specialists are experts in directing the eye, telling us where to look and on what we should focus. Tracie, in a similar vein, created this piece around the idea of seduction. As any decent burlesque artist will confide, true seduction is the art of implication and suggestion. Knowing that the mind is a powerful agent of imagination and sense memory, these performers thrive on revealing while simultaneously obscuring. Tracie methodically ratchets up the tension and element of surprise, by never allowing the dancer's face to be seen clearly. Instead, our eyes are directed to the spine, the feet, the hands, the dress...essentially everything but the face. By collaborating with Cirque Du Soleil creative videographer, Elizabeth Williams, the audience also views the dancer from a number of non-traditional angles, including floating directly above. Not only does this capture our attention, but it draws us into the seduction as willing participants. We are fully invested in the choreography, because of what Tracie refuses to show us. Fortunately, the resolution does not leave us hanging and we are rewarded for our engagement.

KUDOS to Tracie for mastering the part of human psyche that compels us to watch and not turn away...grabbing our gaze and holding us in rapt suspense.

"Take You Down"...Brian Puspos

The word "SWASSY" was recently coined by NYC musician, Mila Jam. She created this adjective, which is the combination of "swag" and "classy," to describe performers and artists who brandish a bold bravado style, but play their cards cool and easy. In this stylized piece of choreography, ABDC alum Brian Puspos and The ARCHITEKZ not only create a tone and atmosphere, but pull off the entire affair with smooth alacrity. This confluence of flavors produces a textured and engaging product, that is simultaneously lively and subdued...in other words, he and his crew hit the "swassy" sweet spot!


MUSICALITY: Ever since the hey day of Midnight Star, musicians have referred to downtempo soul tunes as "slow jams." This is a slight misnomer because the rhythmic content of these types of songs, can have a visceral undercurrent that propels movement at a quick pace. In other words, although the vibe might be languid and relaxed, the music actually has the capacity to support more vibrant movement phrases. At (1:09-1:16) you can see just how forceful the bass hits affect Brian's movement choices. Starting with the strong drop to open legged straddle, the sequence then moves through a cross arm strike, a side push, and fist pump in the air. All of these musical moments serve to accentuate the notion of machismo and "swagger."

DANCER SYNC: For this video in particular, it bears repeating that, for the purposes of this blog, the idea of "dancer sync" refers to the ability for a choreographer to create movement that is safe for the dancer's body. The movement must "sync" up well with how a dancer moves naturally. In this instance, although the dancers are moving together in a very synchronized way, we are only looking at the movement as it pertains to each dancer individually. I get the sense that Brian creates his movement from an "intelligent body" perspective, in that, all his choreo matches his dancers' bodies in a logical and intelligent way. If you watch (1:39-1:42) carefully, you will see how he protects his dancers' knees by placing the left hand on the ground, as they descend into the spiral leg twist. If he were to do this sequence without the preventative measures, he would be asking for knee injuries and ligament damage.

AUDIENCE ENGAGEMENT: This piece is a perfect example of choreography that is self-aware and possesses a light sense of humor. There are so many hidden gems for the audience to discover, I was constantly finding new details with each consecutive viewing. At (1:45-1:46), (1:48-1:49) and (2:18-2:19) we see a few wonderful instances of cause/effect complimentary actions, where the choreography of one dancer visually augments the motion of another. In addition, Brian knows how to create visual illusions with the placement of the dancers. For example, at (1:01-1:02), by hiding the bodies, our eyes are tricked into seeing a solo dancer, with symmetrical triple legs; its as if we are suddenly seeing a person cut down the middle by a full length mirror. Adding to this choreographic slight of hand, are his double entendre references, such as (0:49-0:51) where he subtly lets the audience know what it is that "we came to do." It takes a mature, tongue-in-cheek sensibility to be able to execute these kinds of allusions in a manner that is "classy" and not crass.

KUDOS to Brian for providing us with a fantastic example of choreography that is both street and sophisticated...and altogether "SWASSY."

"Not With Haste"...Mariel Madrid

Influential American psychologist, Carl Rogers once said, "what is most personal is most universal." In other words, when an artist digs into the deepest recesses of her soul, the audience understands that they are witnessing pure, unfiltered truth. Whether or not they are privy to the specific details of the artist's inspiration is not important. The only thing that matters, is the authenticity of the artist's voice...how genuine is her expression through art. In this piece, Mariel Madrid invites the audience to walk beside her along life's journey. How the viewer decides to interpret the narrative will vary, but no one can doubt the sincerity of what she is saying. In this way, her work will resonate with people across a broad spectrum of relationships, and consequently, turn her personal experience into a universal connection.


MUSICALITY: At Broadway Dance Center, I am often heard telling dancers that their breath is their best friend. I tell them that your breath is a constant companion, and is the only friend that will be with you your entire life. Your breath was with you when you were born, and it will be with you until you die. Dancers need to understand that movement is completely dependent on breath. You can dance for about three weeks without eating, about three days without drinking water...but you will only last about three minutes without your breath...and then dancing/movement ceases to exist. So any choreographer who makes the musicality of the breath a priority, is someone I immediately respond to. Notice how Mariel begins this piece (0:18-0:23)...nothing but mindful, conscious inhale and exhale. This simple, yet profound, action sets the mood and intention for everything that follows. This pulsating breath becomes a heartbeat (0:36-0:38) and then expands to the footwork. I love the way Mariel rhythmically and deliberately places her feet, as if she were leaving prints in the sand (0:48-0:52). On top of this foundation, Mariel then embellishes the movement with some of the most exquisite details I have ever witnessed. Watch the sequence at (1:01-1:04) and notice how she subtly mirrors the musical phrase, which features a pattern of descending octaves, by touching her head, elbow, hips and finally a low second position plie, just as the music hits the lowest bass note...this moment is lush!

DANCER SYNC: "Effortless transfer of momentum" is a concept that seems to be lost on many choreographers, and yet Mariel masters this aspect of her movement. At (1:51-1:55) we see her launch her body into the air only to blend the kinetic energy of gravity into a rolling spinal twist. Although the sequence is over in blink, its important to point out her intelligent choices. This short phrase is a dynamic example of a smart choreographer using the rebounding action of one movement to propel and energize the next section. If more choreographers were to approach their movement with this concept in mind, we would see far fewer injuries and more dancers with happy smiles on their faces.

AUDIENCE ENGAGEMENT: I don't know if Mariel has ever worked with or collaborated with Pina Bausch or Anne Teresa De Keersmaeker , but her work bares significant similarities to these woman, in terms of aesthetic and subject matter. However, the element that really makes Mariel's work stand out, is her background in the hip hop community. Here we see a choreographer who is using urban movement vocabulary (isolations, ticking, popping) and applying a deep and layered subtext to the material. This fusion of intention and internal research is really exciting and visually grabs the audience's attention. Compare this moment of Pina Bausch (0:34-0:38) and Mariel at (0:54-0:58). Whether this homage was intentional or coincidental, Mariel makes this contemplative moment unique and fresh, by embedding her own story and history into the action. As film director Jim Jarmusch once said, “Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.” Mariel is a perfect example of an artist who is actively pushing progress forward and advancing the art-form into new and uncharted territory. This is the true definition of an INNOVATOR!

KUDOS to Mariel for creating with a unique and authentic voice, a voice that is hers and hers alone...she is an inspiration for the next generation!

"The Window"...Elizabeth Williams

Here at SERVINGCHOREO, I am always on the lookout for choreographers who value the importance of fluid transitions and movement justification. In this stunning piece of aerial dance, choreographer and Cirque Du Soleil artist, Elizabeth Williams, literally builds her art from the ground up. Working from the lowest possible level and then gradually ascending high into the air, Elizabeth carefully crafts a cohesive and luscious experience that comes full circle for the audience. The movement is never incongruent to the moment, the breath informs every shift of weight, and her lines allow her to express a deep and textured story. For more info on Elizabeth's work, please visit elizabethannwilliams.com.


MUSICALITY: Aerial dance has long had the unfortunate reputation of being "trick" based and overly dependent on the "ta da" factor. Hokey circus acts would perform in a highly indicative and obvious manner, essentially begging for the audience to applause. However, nouveau circus aesthetic sought to change this by blurring the fourth wall and, in many ways, turning the audience into voyeurs who witness a private moment in the air. Elizabeth skillfully demonstrates this dynamic, by inviting the viewer into her world and giving them permission to observe her detailed and nuanced performance. One thing that I admire about Elizabeth's style, is her ability to carefully edit the movement and accent the moments that really need to be emphasized, as opposed to choreographic overkill. She understands the power of adding the RIGHT amount of embellishment, instead of trying to accessorize ad nauseum. She chooses subtle points like (0:54-0:57) and (1:32-1:35) and (2:35-2:37) to synthesize the simple piano motif in her body, first with her hands and then with her legs. Since choreography is, at its core, about making a series of choices, Elizabeth's judicious selections show maturity and confident artistry.

DANCER SYNC: Much like traditional ground-based dance forms, aerial dance depends on the choreographer's ability to place the body in a supported position at all times. This is doubly important for dancers who work in the air, since the slightest misstep can cause a catastrophic fall or injury. Elizabeth expertly "hides the preparation" for many of her extended acrobatic sequences. Notice how she uses a crossed legged bind to set up a ronde jambe to hanging side flag suspension at (1:50-1:58), creating a seamless, smooth transition from sitting to hanging. At times, she even paints a picture of contorted immobility, only to unfold a perfectly coordinated final extension (3:54-3:59). This type of mindful sequencing shows her commitment to dancer safety, without sacrificing artistic integrity.

AUDIENCE ENGAGEMENT: As I mentioned before, the visual construction of this piece is highly organized and thoughtfully executed. The audience might not even realize that the majority of the dance will occur high above the ground, since the movement begins at such a low perspective. Working with videographer J. Dooling, Elizabeth smartly decided to begin with the chalk on the ground, ascending to the fingers, exploring the mid-level with lunges and contractions, elevating onto the pointe shoes, and then finally rising into the air. The piece reaches its literal climax at (3:13-3:15) when Elizabeth ventures to the highest point of the apparatus, and immediately begins the descending resolution back to earth. Notice that piece ends in the same place it begins, from earth to heaven and back again.

KUDOS to Elizabeth for crafting a genuinely spell-binding dance, that is wholly artistic as it is safe and well-constructed.

"Only"...Mark Haines

Director Bridget Palardy had a dream for her video project. The concept was to play with depth and perspective, foreground and background, and the passage of time. She then teamed up with California based choreographer and teacher, Mark Haines. The resulting collaboration is an amazing example of creative alchemy between two highly innovative minds. I wanted to dig a little deeper into the process of Mark's work to give the SERVINGCHOREO readers a behind-the-scenes peek into their creative process. Enjoy:


MUSICALITY:
I noticed that this project is a fusion of dance film and music video, how did the actual musical track affect your choreography?
This video is really the "brainchild" of the Director, Bridget Palardy. I met with her a few times prior to the shoot and hashed out her concept and found ways that movement and dance could enhance her original ideas....it was a true collaboration. As far as the choreography was concerned, I used the "feel" of the music and key imagery words from the Director ("rough", "smooth", "streaming", "cacophony", etc) as inspiration as we were creating movement phrases.

That's fantastic...I noticed that the video has a wonderfully organic, loose naturalism to it...how long did it take to achieve that level of cohesiveness?
Usually I would take more time to work with dancers to make sure they "represent" the movement in the way it is/was intended - but in this case, we were under HUGE time and budget constraints, so many of the dancers (all but 8 or 10 of them) I didn't meet until the day of the shoot! At that point, it was a matter of refining and editing the movement so everyone could do it and then finding the dancers that I could "feature" in certain sections of the Music Video.

DANCER SYNC:
One of the most interesting aspects of this piece, is the sand. How much did the "dance surface" affect your movement choices?
This had the MOST impact on the choreography. My assistant, Megan, and I worked on movement in the studio but spent an equal amount of time (if not more time) reconfiguring the movement so it could work in the sand. The "softness" of the sand was great for floor work, but WAY more challenging then you would think to prep for jumps....and, of course, any kind of turn was out of the question.

I feel that "on-site" situations like this could cause problems for younger, less experienced choreographers, who are obsessed with THEIR choreography. How did you maintain a good, positive experience for your dancers, despite the challenges of working outside, for long hours, in the sand?
The best advice I can give a young choreographer to inspire their dancers is (pardon my language) "Don't be a Dick!". In my experience, I have found that most dancers (if not all) prefer "respect" over a "dictatorship". If you can establish some sort of bond with your dancers (no matter how superficial it may be....remember, a majority of these dancers I met the day of the shoot), they will intrinsically/subconsciously WANT to work for you and WANT to perform your choreographic work with all the passion and energy you ask for. Aside from spending the day teaching choreography, re-staging things for the Director, and re-creating movement that wasn't working, I spent the rest of my time making the dancers laugh, making sure everyone was having a good time and thanking them for what the "magic" they were bringing to the video.

That sounds like a great piece of advice for all kinds of "site-specific" work, eh?
Hmmmmm.....I'm less inclined to think of this dance as a true "Site-specific" piece and much more apt to say it was a "Music Video/dance piece that happens to take place on the beach". Obviously, there would need to be some major modifications if the piece were going to be set on a Proscenium stage, but I'm not 100% sure what those changes would be....each performance space and every group of dancers brings forth new and different challenges, ideas and experiments.....we'll have to wait and see.

AUDIENCE ENGAGEMENT:
As someone who works both on stage and in video work, what shifts do you make to translate dance for an online audience?
The choreographic process changes immensely because you are taking a 3-dimensional art form and applying it to a 2-dimensional medium. Many subtleties and nuances found in live performance are greatly reduced....but if you are working with a Director and film crew that understands movement and dance (as I was lucky enough to), certain allowances can be made to bring life to the filmed choreography.

Many online choreographers rely on quick camera shots and flashy editing to maintain the tempo and pulse of piece, but I was fascinated by your ability to keep the viewer engaged, while never moving the camera angle. How did you achieve this?
Again, the fixed camera angle and the the elongated view of the horizon and the ocean was part of the original concept of the Director's. ...she really wanted to play with the idea of visual depth within a one-take-continual-shot fixed camera angle. But because the camera only moves once from it's original spot to the overhead shot, the dancers had to do A LOT of running!!! We had taped lines and markers all over the sand to remind the back-up singers and the dancers where their site lines were for the camera. We started filming around 5:30pm and did our 7th take around 7:00pm. The dancers were exhausted, to say the least.

KUDOS to Mark for assessing the situation and skillfully adapting the movement for the dancer's safety and still creating a visually engaging, exciting piece of video choreography.

"Le Sacre du Printemps"...Pina Bausch

For people who visit SERVINGCHOREO regularly, a common theme of "variety" is apparent. I believe that hip hop choreographers and dancers need to open their minds and expose themselves to the world of movement that exists outside the video and commercial mentality. Instead of "diluting" your quality, this process of cross-polination will actually make your hip hop journey resonate more fully with authenticity and artistry. I also believe that it is important for street choreographers and dancers to be given respect and academic inquiry. This is also an integral aspect to the SERVINGCHOREO mission. To this end, today we look at Pina Bausch. Although, this master choreographer passed away last year, her work is still dynamic and alive. Exploding from the intersection of classical theater and modern dance, her work pulses with a visceral drive and is a perfect mirror of human experience. Her work lives in a suspended state of dance-theater, where it is just as much about the dance technique as it is about internal motivation and story. When you watch this clip, you will feel as though you are watching something as dramatic as Downton Abbey or Walking Dead, and yet all the relationships are expressed through impeccable dancing. And who doesn't love a good thriller movie? You will notice that once you start watching, you will get sucked in, and before you know it, the video will abruptly end...something akin to the suspenseful cliffhanger ending to your favorite weekly episodic TV program.


MUSICALITY: When Stravinsky wrote the score for "Rite of Spring" audiences were outraged, as it did not conform to the musical structures and habits of that time. However, the strident and discordant timbre of his orchestral vision correlates perfectly to the anxious tension that circulates through this piece. Pina understands this uneasiness and plays it to maximum effect. Watch the disturbed crescendo at (1:34-1:40) as the dancer raises her arms and the ensemble melts into the dirt. Again, at (2:55-3:12) the music and movement simultaneously build in chaotic intensity until the abrupt halt, when all the dancers shift their focus to the red silk. I love how the most powerful musical moment (3:45-3:56) is matched by the unison force of the group moving together as one. In a strange allusion, I am reminded of Janet Jackson's "Rhythm Nation" video, where the group makes a similarly unified statement of strength and solidarity.

DANCER SYNC: It goes without saying that Pina's choreographic choices are always unique and surprising. However, they are never created from a place of gimmickry or populism. When Pina made her shows, she would spend countless hours with her dancers, researching the internal motivation and psychological impetus for the "moves." It was never sufficient for her to include a step, simply because "it looked good" or was "a catchy trick." Every moment needed to be justified with the question "why?" Why are they whipping their hair to the sky? Why are they covering their faces? Why are they kicking to the side with a bent leg? All these questions have already been answered internally by Pina and her company. It is left to the audience to cypher the solution to her mysterious quandary, by using their intuition and sensory receptors.

AUDIENCE ENGAGEMENT: The narrative arc for Pina's material is marvelously balanced. She clearly demonstrates her ability to hook the audience and keep them wanting more by gradually turning up the heat and raising the stakes. First, she introduces the idea of purity versus rubbish, higher calling a banal tendencies. Suddenly, at 5:05 the masculine energy invades the picture and ups the ante considerably. I encourage you to watch the concluding second half of this piece and observe how the drama unfolds. Everyone will watch this work and interpret it differently, and yet, no one can see these bodies in motion and not recognize some aspect of human nature.

KUDOS to Pina for translating the experience of life into a visual, tactile masterpiece of motion.

"Lois Lane"...Keone Madrid

Good art is authentic and vulnerable, like an actor who pours his heart out on stage and allows us to see humanity in all its gritty detail. Think about the difference between an over-produced pop tune and ANYTHING that was recorded by Etta James or Nina Simone. The artist who is BRAVE enough to show us the personal highs and lows of life, is the artist we are drawn to and compelled to watch. Interestingly, hip hop artists who are true to themselves, also find their capacity for genuine confession and confidence with the audience. In this clip, Keone Madrid brilliantly expresses his love for the woman of his life, extolling her virtues and praising her qualities. This is a far cry from the swag and bravado that is typically associated with hip hop battle culture, but it is just as legitimate...because it is REAL.


MUSICALITY: For the purposes of this blog, the word "musicality" implies a broad definition, a range of inspiration that extends from a simple heartbeat or breath, to full blown orchestral production with gospel choir...and everything in between. Poetry is spoken word that abides to meter, has rhythm...and by extension, musicality. The opening prelude is a fantastic example of the collaboration between the spoken word and physical movement. The manner in which the dancers embody the words (0:24-0:32) and create pictures that augment what we are hearing, is as "musical" as is gets! Another highly musical component of Keone's work, lies in his ability to hear staccato AND legato phrasing in the SAME line of music. Legato notes are held and sustained, while staccato notes are sharp and short...when you watch (3:13-3:29) you will notice one group of dancers following the legato phrasing of the held chords of the keyboard, while another group simultaneously mirrors the staccato tempo of Robin Thicke's vocal line. This kind of musical juxtaposition engenders a sort of visual compliment that works for our ears, as well as our eyes.

DANCER SYNC: Generally speaking, one of the great contributions that hip hop has had on the evolution of contemporary dance, is the notion of "groove" or "funk." Often, you will hear hip hop choreographers talking about "being in the pocket of the beat" or "putting some stank on it." These are synonymous ways of saying that the movement is generated internally, deep within the human soul. Similar to the way traditional African and Native American dancers work themselves into trance-like frenzy around a fire, the hip hop tradition is also intrinsically connected to the root of all movement...the beating of your heart. Moments such as (2:16-2:19) where Keone channels a James Brown shuffle step or (2:28-2:30) where we see the incorporation of a latin basic, show that Keone has a mature understanding that the dance needs to be grounded in the groove, or it will fail. Many choreographers "over-season" their work with a flood of steps and tricks, forgetting that the groove or "pocket" is the basis for everything else.

AUDIENCE ENGAGEMENT: There are a couple of elements that Keone uses to his advantage. The first is silence. Notice how the dancers simply hold their space for over 30 sec (0:39-1:12). For most dancers, whose lives are spent is constant motion...this could feel like eternity. But Keone is intentionally imbuing the piece with tension, realizing that this engaged, pregnant stillness brings the audience to the edge of their seat and piques their interest. The second element that we can observe, is "group isolation." In jazz dance, when we talk about "isolations," we are talking about the ability to move different body parts, while keeping the rest of the body still. However, Keone expands this concept to the entire group, where different members hold their positions. At (3:02-3:12) Keone starts with the group moving in unison, and then demonstrates this idea of "group isolation." Lastly, in terms of holistic composition, Keone taps into the power of repetition. Learning how to use repetition effectively is an important hallmark of mature, quality choreographers. Notice how the solo phrase (1:38-1:49) is brought back in its entirety at (4:29-4:39) but as group moment. All of these compositional elements serve to engage the audience and maintain full viewer participation.

P.S. As a additional bonus, I particularly liked the homage to the Superman "logo reveal" when Clark Kent peels off his pedestrian disguise, and shows his true identity...(3:54-4:02)

KUDOS to Keone for creating a touching, sensitive tribute and simultaneously displaying superb choreographic choices.

"Someone Like You"...Melanie Mah

"Just make good art"...I find myself constantly imploring my students to adhere to this maxim for success in choreography. And yet, many would say that it is much easier said than done. I agree that mastery of technique and skillful use of choreographic tools is important, but when it comes to making "good art," nothing trumps honesty and vulnerability. There is a phrase in stagecraft that says "personal is universal"...in other words, if you allow the audience to see the most intimate corners of your psyche, they will vicariously relate your experience to their own. This creates a moment of magical empathy with the viewer and consequently produces good, truthful art. Melanie Mah is a fearless choreographer, who has the courage to be completely open about the pain, hesitation, frustration, and uncertainty of relationship dynamics. Much like Apple computer products, she is an artist who values design and executes a simple concept with sharp precision and authenticity.


MUSICALITY: There are a number of key moments in this piece that work so brilliantly, I find that they are etched in the forefront of my recollection. Watch how Melanie accurately conveys the longing for attention and recognition (2:01-2:09) using simple head gestures. This synchronicity of movement and music creates a palpable tension between the woman, who is begging her partner just to look her in the face, pleading for him to connect with her eye to eye. In terms of accent and rhythm, Melanie has a natural sensibility in bringing longs and shorts to life. At (2:53-2:58) she creates distinct pictures on the words "this" and "would"...but then allows the movement to languidly melt to the ground on "taste." Finally, the moment at 3:58 may be the most effective image of "hurt" I have ever seen in a dance...the male dancer's hand may as well be a hot branding iron, burning the back of her arm. Simply stunning.

DANCER SYNC: The partnering phrases, as well as the unison group sections, have a fluid cohesiveness that every choreographer should aspire to. Too many times, in an effort to be "original" or "inventive," a novice choreographer will overcompensate and create phrases that are awkward and messy. Melanie keeps the vocabulary fairly traditional, but then executes it with perfection. The unison sequence at (3:27-3:40) is gorgeous flowing example of logical choreographic choices, which allow the dancers to move through their full range of motion and explore the music deeply.

AUDIENCE ENGAGEMENT: At the beginning of this post, I talked about the idea of universality. If an artist creates material that is a genuine reflection of their life and perspective, the audience will find the pieces within the work that apply to their own experience. The first time I saw (3:23-3:26) I literally felt my heart sink for this girl. The "hurt" that she is able to convey with her body, falling into her man, and then struggling to stand, is a raw and unaffected take on the emotions "real" people feel in moments of hopeless desperation. I also love the way, Melanie took the time to "set the stage," by assiduously and efficiently creating the characters and establishing the relationship. The little preamble that occurs in the reality of Starbucks, serves to make the internal monologue of the dance that much more effective.

KUDOS to Melanie for demonstrating the "Apple Principle"...take something simple, do it really well and produce a good, sharp product that people can embrace and relate to.

"The Last Goodbye"...Isis Masoud

Mainstream media is particularly adept at categorization and association. "Pink is the new black" or "hip hop is about bling and video babes" are two examples of broad generalizations that actually hold little validity when you dig deeper into the subject matter. Pole dancing, is a excellent example of this urge to classify and stereotype. Despite the fact that pole dancing has a long and dignified history in Chinese and Indian culture (practiced by men and women alike), in the United States, there has been a tendency to sexualize the art form and project a "dirty taboo" onto a genre that requires a tremendous degree of legitimate skill and strength. Isis Masoud is a contemporary choreographer who seeks to enlighten people's perception of pole dancing, and bring attention to the unique possibilities that the vertical element provides


MUSICALITY: According to game theory, whenever you change the rules of a game, your approach and strategy must change relative to the new landscape. For a choreographer, adding the element of a new apparatus ought to inspire a broad range of creative, innovative options. Some choreographers are able to fully explore the opportunities that a new prop affords...and some are not. Fortunately for us, Isis provides an excellent example of a dance that explores this new element completely. Whether its the ability to create circular movement phrases in mid-air or the unique perspective that the pole brings to certain body lines, Isis' use of the pole allows us to see her choreography in ways we are not accustomed to. Similar to the way one feels when walking on a glass window at the top of a skyscraper, looking down through a glass bottom to the street hundreds of feet below...when we see an attitude line or arabesque suddenly suspended above us, free of gravitational constraints, it is a thrilling new experience. On a similar note, the opening phrase from (0:03-0:06) is such a simple, fetal position...yet the chance to see it rotate in motion is breathtaking.

DANCER SYNC: For a performance that is required to defy gravity, the continuous flow of momentum and energy becomes paramount. Looking at (0:40-0:44), Isis creates a logical kinetic flow that begins in a ronde jambe, into a straddle rotation, and resolves in a spiral wrap. This kind of "dynamic logic" is often lost on amateur choreographers, who become so enchanted by a "cool move" or "sick move" that they forget the flow. A good movement phrase ought to animate the dancer with fluidity and logic, never choppy or disjointed. Interestingly, a good choreographer can ALSO create the ILLUSION of chaotic, incongruent movement...while still forming a phrase that makes kinetic sense to the dancer who is asked to dance it. Watch the extended moment from (1:08-1:27) to get a feeling for just how adept Isis is at creating phrases that flow with unbroken continuity...literally a physical, visceral, stream of consciousness. Also, it is wonderful to note, that at the end the video, Isis shares the choreographer credit with her dancers, Marlo and Kyle...this type of generosity and humility is not often seen in the dance world and ought to be recognized!

AUDIENCE ENGAGEMENT: As I noted before, the ability of a choreographer to fully explore a new medium is paramount to the resulting success. As a viewer, I found myself immediately drawn into the story and pictures that Isis creates with the pole. Moreover, I became so throughly invested in the movement and emotional arc that eventually the "pole" seemed to disappear. Call it willing suspension of disbelief, but I began to see the dancers simply levitating and rolling through midair. I imagine it being something akin to seeing ballerinas en pointe for the first time. The skill and technique of the choreographer and dancer, creates an "impossible," yet immersive dream that draws you in and entrances you.

KUDOS to Isis for taking hold of this vertical medium and allowing us to reconsider and appreciate "pole dancing" through her choreographic, artistic filter.

"Amsterdam"...Daniel Robinson

Recently, I have been asked why I have not featured such distinguished choreographers as Mark Morris, Paul Taylor, or Martha Graham. While I have utmost respect for these legends, their work exists primarily on stage, where is is best appreciated live and in person. The purpose of SERVING CHOREO, is to highlight the exemplary work of choreographers who are creating art and content online. The degree to which a choreographer is successful in translating their work from stage to YouTube screen varies considerably from person to person. However, there are some individuals who have boldly embraced this new frontier and sought to choreograph SPECIFICALLY for online appreciation. Daniel Robinson, is one such innovator. As opposed to using the internet as a marketing tool for real world performance, his choreography is intentionally formatted to be enjoyed via small screen. For him, the decision to turn a dance piece into a video project is not a secondary afterthought, but instead, an integral component of his creative process from the outset. Daniel's work is a fantastic demonstration of a choreographer making full use of the online potential for creative perspective, inventive editing, and dynamic pacing. He is a TRUE "videographer" (video-choreographer) since he not only choreographs, but also films, edits, and masters the resulting video content.


MUSICALITY: I had the opportunity to speak with Daniel about his creative process. With regard to musicality, he mentioned that "the music for a dancer is like the map - so it affects the movement of the dancer. I like to use many different kinds of music to get a range of movement quality. During the shoot we constantly discussed the story and where the character was coming from. It was a very collaborative process." Also, when using the camera as a tool for choreography, the ability to edit musically becomes paramount. If you watch carefully from (2:18-2:24) you will realize how precise Daniel edits the imagery of his movement. We see the dancer literally crippling under the weight of being "pushed to the ground." Similarly, the body is seen wrapping the pipe, like a serpentine ribbon, on the word "around."

DANCER SYNC: I am always looking for opportunities to highlight choreographers who have healthy communication with their dancers. Some choreographers are simply beastly when they make certain demands, which compromise the dancer's safety and well-being. Daniel, however, is just the opposite...actively engaging the dancer to find a solution that works in the body as well as the camera. He told me, that their process was a mix of suggestion on Daniel's part, and improvisation on the part of Josh (the dancer). Daniel said, "thankfully Josh lives in the world of improv, so you say an idea, feeling, or image and he's two steps ahead. He never judged anything or second guessed himself - it was purely forward and fearless. He's a true master. When I film and choreograph my dance films I like to let the dancer know they are un-judged and can make no mistake in front of me or the lens." This idea of "there-is-no-wrong" during the creation process is wonderfully empowering to the dancer and allows them to truly invest themselves in the choreography. (On a related side note, I recently came across another video where Justin Bieber's back-up dancers created an impromptu site specific piece in an airport terminal during a flight delay, LOL, dancers are the luckiest folks alive)

AUDIENCE ENGAGEMENT: For the audience, it is always thrilling to see the banal aspects of life, filtered through a brand new perspective. Site specific choreography is one of the easiest ways to achieve this effect. Site specific choreography is created to exist only in a certain place and is generated through research and interpretation of the site’s unique cultural matrix of characteristics and topographies, whether architectural, historical, social and/or environmental; discovering the hidden meaning in a space and developing methods to amplify it. To this end, Daniel succeeds brilliantly. He mentioned that when he is choreographing for a filmed project "there is more freedom and you find yourself taking more risks with ideas and images. In my experience when choreographing a staged piece and then filming it - I fall in love with things from the front and fear going anywhere beyond." When I asked him about choosing to film on the roof, he said that he tends "to film many pieces on roofs, since the views and images are always so delicious. When editing a live performance, it can get monotonous. I like the not knowing of what you'll see. The roof is a magical place." When you watch the piece at (1:13-1:19) you can see an unbroken movement phrase from two different perspectives. The first is in the dancer's vicinity, while the second is from a far, framed by the raw materials of the environment. This shift in perspectives creates a sort of energetic heartbeat that compels the piece forward. Daniel also understands the key element of motivation. All of the images in the film exist for a reason. And whether or not the audience can articulate why they feel the movement is justified, they know subconsciously that it is rooted in reality. To ensure that film is authentic, Daniel studies "story formulas constantly. I am a very big believer in the western story structure. Then the choreographer's eye comes in on the places in between. The movement must communicate quietly with a point of view. The lens never lies. I love them both - dance and film. Perfect Match."

KUDOS to Daniel for embracing the digital medium, not as an extension of the choreographic process, but as a fundamental component of the work, from start to finish. For more info on Daniel's work, please visit DANIEL'S WEBSITE