A Night at the Building Museum, Part II

This is cross-posted on the Dance Exchange blog.  Check it out.

[Continued from Part I] 

As we waited to make our last appearance at the Building Museum, we were able to hear David Rockwell, founder and CEO of his namesake cross-disciplinary design practice, give his keynote address. In his speech, he talked about architectural projects, commissions, and how such tasks involve one essential thing—play. Rockwell explained play through four elements—inspiration, risk, temporary, and exploration—and I realized that Rockwell’s approach to his projects and the approach to my improvisational experience that night—and to dance in general—were not so different.

Inspiration shows up whether we know it or not, for all forms of art.  Of course in choreography, inspiration leads us to create movement, spacing, picking music, and so on. In an improvisational situation, however, inspiration is much more immediate.  In the Building Museum, we drew on the shapes we saw and created in the space to create movement.  It was a constant conversation of bodies to bodies, bodies to corners, bodies to walls, and so on.  What we saw and felt there at that time was what instigated thoughts and movements—and that constant search for inspiration kept us moving.

Risk exists particularly strongly in improvisation, for so much of it is in the unknown.  At the Museum, I felt as though the stakes of risk were the highest I had ever experienced.  Not only was I in an unfamiliar space with people I had not danced with before, but the environment was full of surprises. I shared dancing space in very close proximity with fragile elements—glasses, noses, fancy clothes.  Thus, I found my spacial awareness as well as my awareness of my own clumsiness on high alert, careful not to knock over a tray of mini quiches or step on the trail of an $800 gown.  Definitely not the usual concerns I have during a performance, but it was a fascinating challenge as it unfolded.  (And yes, I made it through without injuring any party guests or their spiffy attire!).

As Rockwell elaborated on the temporary nature of his projects that moved from place to place, I thought of dance in context of as a performing art.  Dance is temporary in its essence as a performing art. Like music or theater, dance exists when it is physically being created and practiced. When the practice ends, the art ends.  As opposed to visual arts like painting and ceramics, which creates a product that is visitable, preservable, and tangible, no one can hold dance in their hands to keep forever.  I think that’s part of what makes it so organic and authentic, and why so many people can experience such emotional reactions to it.  When it is present, we can enjoy it fully in.  And, as was reiterated for me that night at the Building Museum, dance can happen anywhere, at anytime, with anyone.

Exploration is at the core of modern dance and improvisation. We explore the possibilities of our bodies, the space, and the interactions that come about by bringing all these elements into our dance as a whole.  And it’s at the core of every art form—creating something is a never ending journey of discovery and questioning.

I love that Rockwell used the word “play”—it reminded me that freedom and happiness are a huge part of creating anything.  And that we don’t have to take everything seriously all the time. Realizing how interchangeable these elements are between two seemingly separated approaches to art was one of my favorite parts of the night.  It gave me a big surge of happiness and a desire to play with my creativity. So, with his conclusion, it was off to energize the dance floor with party guests—and play we did.

Here are some clips of us in action:

A Night at the Building Museum: Notes from an evening of improvisation, Part I

With my new post as intern/apprentice at the Liz Lerman Dance Exchange (yes, it's kind of a big deal), I am finding myself in some awesome dance situations with some pretty talented people.  Not to mention that I've met Liz Lerman a couple times and share a desk space just a few feet from her.  Not kidding.  *Star struck*.  So, when a Dance Exchange company member was desperate for dancers for a site-specific improvisation at the National Building Museum, I jumped at the chance.  Performance opportunity? Check.  Site specific in a ridiculously gorgeous building that's a national gem? Check.  Affiliation with an internationally renowned company? Check.  Chance to meet fellow local dancers? Check. Free dinner? Check.  Hell yes, I'm in.

It was a super awesome experience so I naturally went to town with blog-ness.  It was so long we had to break it up into two parts, but here's how it all began ...

The following is cross-posted on the Dance Exchange Blog. They're doing some pretty cool stuff, I would browse around if I were you.

Tuxedos.  Floor-length gowns.  Cocktails.  Hors d’oeuvres. Draped tables.  And … wait? Is that a barefoot dancer over there?

Last night, I joined six other dancers in a site-specific improvisational commission at the National Building Museum’s annual Honor Award Gala.  It was a spontaneous performance for many of us—I myself found out about it a mere two hours beforehand—but it quickly became one of my most beautiful and memorable dancing experiences.

Totally unaware of the splendor of the Building Museum before this event, I found myself breathless when I first walked in.  If you’ve never been to the National Building Museum, get yourself there as soon as possible, and be sure to bring your camera.  Seriously.  Opening itself to a majestic floor-to-ceiling lobby almost the size of a football field across and 75 feet up, the space is divided by enormous ornate columns—some of the largest in the world.  Look up and twirl around and you’ll see the lobby lined with the buildings floors, fringed by arced décor that reminds of St. Marc’s basilica in Venice.

(photo by Daniel Zook)

As the cast made our way up, down, and around to get acquainted with the building, Dance Exchange company member Sarah Levitt explained that our task for the evening was to transition guests from one segment of the evening to the next through improvisation.  In our improvisation, she continued, we should make relationships with each other and the architecture and shapes of the edges, structures, and elements of the space. “This space is so amazing that really anything will look interesting,” she said in awe of the marbled columns and spanning Great Hall.  No argument on that one, Sarah.  I could tell immediately that a space like that was a dream for a dancer, especially in improvisation.  I was so excited!  Not only were we going to be able to use our bodies to explore the incredible architecture itself, but splashes of luminescent purple and green fabrics draped carefully as backdrops, artfully constructed plates of food, and a giant pyramid-shaped projector hanging from the ceiling were going to be part of our performance space.  Oh, and hundreds of people dressed as if they were walking the red carpet.

(photo by Daniel Zook)

One of the (many) things I love about modern dance is that it is easily removed from a recognizable dance environment and dropped right in the middle of pretty much any situation. In my days I’ve danced around benches along the street, on the quad of my college campus, and even around trees and mailboxes along a street in Italy.  Among party guests at the most glamorous event I’ve ever been to?  That was a new one for sure.  It was going to be a whole new ball game for me. Challenge accepted!

(photo by Daniel Zook)

Following a loose structure of spacing and theme for movement, we began the evening of improvisation by slithering our selves through the crowd of mingling guests, who spilled out of a cocktail room into the hallway during the first part of the event—a cocktail hour.  We slowly stacked ourselves in a line through the crowd, creating and shifting into shapes by relating to each other and the space. With surprised and curious reactions from party guests, we made our around and in between the conversations with shape-inspired movement.  Eventually we moved our way to corners and gaps in space in the hallway and in the party room, continuing to improvise with the space. As guests became more familiar with turning a corner to see a dancer along their path to the bar, we eventually became a part of the scenery that people seemed to enjoy.  Personally I received a few confused looks, but also many smiles, questions, and even a couple high fives as I struck a pose with a raised arm and flat (and apparently slappable!) hand.  I even had a few party guests imitate me as I twirled, posed, and spiraled my way past them, all in a fun and lively spirit.

Eventually, it was our task to help lead guests towards and down the stairs to the next part of the evening taking place in the lobby.  Using gathering and directional gestures, we helped point guests towards the stairs, and draped ourselves along the stairwell as they descended into the Great Hall.  We then welcomed the group into the lobby with joyful improvisation before we faded away to allow the evening’s official festivities to begin.

Our next appearance helped encourage guests to take their seats, we formed a festive structure called a second line, in which we followed behind a few horn-players from the evening’s New Orleans-style jazz band. Moving away from the abstract movement we know and love, we brought out the jazz hands, swinging legs, and sugar walks to capture the changed and elated energy of the live musicians interrupting the quiet mingling.  As we boogied to the staccato jazz, we each carried a few pieces of blue foam-like blocks in all shapes and sizes, taken from a work-in-progress structure of piled shapes.  We had taken them from an abstract structure sitting in the backdrop of the Great Hall (the evening’s keynote speaker explained later that these were pieces from a playground constructed in a devastated neighborhood as a part of a commissioned architectural project). After making our rounds, we playfully added our pieces to the structure and moved about the shapes, engaging in the parts and the whole as it came together.

Our last task was to encourage guests to enjoy the jazz band on the dance floor, as we were the first on the floor with snaps and claps, eventually bringing some guests to come enjoy the music with us. Once we got the group boogying, we left them to it and called it a night.

Part II will a elaborate on the evening’s keynote address about elements of play, which beautifully parallel concepts of dance.  Plus, I’ll post some video clips of us dancers in action!

Beautiful Oddities

Saw this tonight. Inbal Pinto & Avshalom Pollack Dance Company's OYSTER, a 1999 piece that finally made it to the American Dance Festival. In that link is a little bit about the company, who is from Israel, and a video clip from the piece. Watch it.

I am still grasping for the words to describe this most breath-taking piece. As much as I pride myself in being a writer, I really must steal the words from the description in the link above because it comes the closest to doing it justice:

"... from human marionettes to double-headed men and armless odditities, reality is thrown out the window in this most engaging evening that blurs the lines between ballet, acrobatics, mime, and theater ... it's a fantastical feast."

The piece is based on short story by the always brilliant Tim Burton, which was an automatic turn on for me (Big Fish is one of my favorite movies, and who doesn't love Edward Scissorhands?). The short story, after a bit of internet surfing, I think is "The Meloncholy Death of Oyster Boy" and probably too the other stories that are in the short-story/poem book of the same name.

As soon as the curtain opened, I was transcended into a world much like the one described above--a weird dream of a circus and ballerinas and sights that were fantastical indeed. And honestly, I'm not even sure what happened in between. I had floated above myself and landed in this bright yet gloomy, questionable space where nothing at all was predictable. The music moved from vaudeville-like instrumentals to tracks with vibrant, sometimes even croaky singing in a language I could not identify. The soundtrack went from loose, improvisational-like solos to drum beats like a fist punching into a pillow. The people (or creatures) I saw on stage were characters who I could not tell if they were my friends or my enemies, if they knew I was there or if I was invisible to them.

When it was over, I could not even move. I didn't even notice the curtain was closing until that last sliver of light was about to disappear. The auditorium filled with the sound of applause but I couldn't even get my limbs to move. I could barely find my feet to stand up and give them a standing ovation (though, what I thought they really deserved, was a floating ovation). I found I had transcended into this fantasy-like dream world circus thing, a world full of odd things that were beautiful and beautiful things that were odd.

Odd and beautiful, beautiful and odd. I think I am discovering that things in the world that are both are the best things.

Even now, an hour after this performance, I still feel like I am floating, not landed back in the real world with my feet planted solidly beneath me. My chest has loosened a bit from the tightness that pulled at me as the lights came up, and the vibrations I felt beneath my skin all over have slowed down, back in time with a steady heartbeat.

ADF asks us this season, "What is Dance Theater?" Well, folks, THAT was a great example of what dance theater could be. Not just because Inbal Pinto & Avshalom Pollack, married partners in crime and the brains behind the company, are one-part theater master (Pollack is a very experienced actor) and one-part big time dancer and choreographer (Pinto danced with Batsheva, a well-known Israeli contemporary dance company, and won a "Bessie" award for her choreography), but that definitely helped. OYSTER, though, says it all.

I can't wait to go to sleep to see what kinds of beautiful and odd things decide to tumble, glide, leap, and fall into my dreams tonight.