Summer is almost here, at least today's weather of 75 degrees and sunny is trying to trick me that warmer weather is coming. In the last couple of years summer has meant workshops and intensives. I'm getting a little bit nervous as I try to plan what programs to sign up for, and more importantly how I'm going to pay for them.
Last year I went to two summer workshops: Cerqua Rivera's intensive and a few days of River North's summer workshop (I couldn't afford the full 5 days). I had a really great experience with both and learned a lot--especially what I should be doing in order to take care of my body.
After the River North workshop I couldn't walk. I thought I was just sore from working so hard, but then the pain didn't go away and I realized that it wasn't a muscular pain...most likely I tore some cartilage around my knee (*unfortunately, my "insurance" doesn't cover X-rays, MRIs, or physical therapy...so I don't know for sure).
I was devastated. In part, it was like a rite of passage, my first dance injury. But I couldn't dance for 8 weeks. I could barely move. I worried about putting on weight (for about 3 weeks all I did was lay on the couch with a bag of frozen peas on my knee). I also knew that this type of injury doesn't repair itself, it just hurts less with time. I ended up being out of class for 3 months, and just barely felt normal enough to dance in IDC's concert in November.
I've recently started to go to class more regularly to test my limits, 3 or 4 classes per week on top of about 6-10 hours of rehearsal and 3 hours/week of cross training. I was afraid of this...my knees hurt. Not terribly, but enough that I can't always cross my legs because it causes to much pressure, or I can't bend my legs past a 90 degree angle when I sit on the bus, or that I have to wear my running shoes much more often because I need the support.
It's scary, something that I am constantly aware of.
And now...summer intensives. Will I be able to handle the amount of dancing? Will I hurt myself again? I'm planning to train consistently for the next month or two to see how I'm feeling before I officially commit to any intensives.
You only get one body, right?
Wednesday, March 31, 2010
Sunday, March 28, 2010
I've been spending my "free time" lately on anything and everything dance.
Last week I went with my husband and a friend to see Hubbard Street's spring series. Four amazing dances, all joined together by a theme of gliding, whether because the dancers were wearing socks or because they were suspended from harnesses and literally flying and swinging through space. Jiri Kylian's piece 27'52" was unbelievable. It's so amazing to watch the dancers completely transform, and to see gestures and movements and ideas that you haven't seen before.
Watching this company is always inspirational--they are one of the first reasons I wanted to come to Chicago. Hubbard Street was my first exposure to Chicago as an arena for concert dance.
As I researched more into what the city had to offer, I discovered Chicago Tap Theatre. At the time, while I was living in Florida, I had just happened upon an adjunct tap instructor position at FloArts, or St. Johns River Community College's fine arts department. I hadn't really tapped in four or five years because tap wasn't offered at my college. I became completely invested in tap dance and consumed as much history, terminology, obscure references, and movies featuring tap as I could. For my piece in that semester's show, I created an a capella tap story. So if you are familiar with CTT, then you would understand why this company was such an important discovery for me. They are constantly finding new ways to present tap dance, and it usually means through story telling.
When I talk to people about tap, and they are not a fan, it seems to be based on a belief that tap is not dance, that it's not art. "It's just noise!"--I have a co-worker who reminds me that from time to time. CTT shows that tap is more than just the metal on the bottom of their shoes. They create complicated rhythms to complement music, or even to create music. Not all of their tapping is heavy hoofing: they show that tap can also be graceful and soft. The dancers use their entire bodies to create and develop characters.
My first Chicago Tap Theatre show was last year's "Little Dead Riding Hood." I've seen other CTT shows since then, but none have topped the fantastic journey of Little Dead. Brilliant tapping, excellent costumes, sets, and music. The spectacle was not all that made it spectacular--the show was also somewhat interactive! At intermission, the audience voted on who they thought killed Little Dead. My husband got it right--we won tickets to see their next show, and were hooked.
Last night, we went to see their latest, "Love Taps." A sweet idea, but the storyline was a bit complex. Basically, the we meet the entire cast of characters who represent all walks of life--office workers, bartenders, a fashion designer, a doorman...who are all single and looking for love. After the "introduction" in act one, the audience got to vote on different pairings during intermission to be acted out in act two. Truly interactive--plus, imagine all the different duets they had to prepare. Act two was definitely the high point of the show, possibly because the audience voted for the most entertaining characters. All in all, it may not have been my favorite CTT show ever, but I thoroughly enjoyed the concept, some awesome dancing, and fresh new faces in the group.
I have to wrap my post here--off to my first rehearsal with Matter Dance Company tonight.
Until later.
Last week I went with my husband and a friend to see Hubbard Street's spring series. Four amazing dances, all joined together by a theme of gliding, whether because the dancers were wearing socks or because they were suspended from harnesses and literally flying and swinging through space. Jiri Kylian's piece 27'52" was unbelievable. It's so amazing to watch the dancers completely transform, and to see gestures and movements and ideas that you haven't seen before.
Watching this company is always inspirational--they are one of the first reasons I wanted to come to Chicago. Hubbard Street was my first exposure to Chicago as an arena for concert dance.
As I researched more into what the city had to offer, I discovered Chicago Tap Theatre. At the time, while I was living in Florida, I had just happened upon an adjunct tap instructor position at FloArts, or St. Johns River Community College's fine arts department. I hadn't really tapped in four or five years because tap wasn't offered at my college. I became completely invested in tap dance and consumed as much history, terminology, obscure references, and movies featuring tap as I could. For my piece in that semester's show, I created an a capella tap story. So if you are familiar with CTT, then you would understand why this company was such an important discovery for me. They are constantly finding new ways to present tap dance, and it usually means through story telling.
When I talk to people about tap, and they are not a fan, it seems to be based on a belief that tap is not dance, that it's not art. "It's just noise!"--I have a co-worker who reminds me that from time to time. CTT shows that tap is more than just the metal on the bottom of their shoes. They create complicated rhythms to complement music, or even to create music. Not all of their tapping is heavy hoofing: they show that tap can also be graceful and soft. The dancers use their entire bodies to create and develop characters.
My first Chicago Tap Theatre show was last year's "Little Dead Riding Hood." I've seen other CTT shows since then, but none have topped the fantastic journey of Little Dead. Brilliant tapping, excellent costumes, sets, and music. The spectacle was not all that made it spectacular--the show was also somewhat interactive! At intermission, the audience voted on who they thought killed Little Dead. My husband got it right--we won tickets to see their next show, and were hooked.
Last night, we went to see their latest, "Love Taps." A sweet idea, but the storyline was a bit complex. Basically, the we meet the entire cast of characters who represent all walks of life--office workers, bartenders, a fashion designer, a doorman...who are all single and looking for love. After the "introduction" in act one, the audience got to vote on different pairings during intermission to be acted out in act two. Truly interactive--plus, imagine all the different duets they had to prepare. Act two was definitely the high point of the show, possibly because the audience voted for the most entertaining characters. All in all, it may not have been my favorite CTT show ever, but I thoroughly enjoyed the concept, some awesome dancing, and fresh new faces in the group.
I have to wrap my post here--off to my first rehearsal with Matter Dance Company tonight.
Until later.
Saturday, March 20, 2010
Hi, my name is...
Stephanie, and I am a dancer.
I've searched for a dance blog that chronicles a dancer's daily life--going to class, preparing for auditions, facing rejection, seeing inspiring performances, working on projects...So here I am, with plans to write about those things.
If I were you, I would want to know a bit about the author.
My entire life revolves around dance.
I moved to Chicago a year and a half ago to pursue a performance career after the inevitable crash and burn of trying to "make it" in New York. Now, I work for a dance manufacturer most days of the week and am currently dancing with three companies. Seems like a lot, I know, but it's actually very manageable.
I seem to have found my place in the Chicago "fringe" dance scene, working with pick-up companies, meaning that they work with dancers on a project or seasonal basis. The world of small modern dance companies here is lovely: everyone is eager to work creatively, accepting of many different types of dancers, and just wonderful people in general.
I worked with Innervation Dance Cooperative (IDC) and Matter of Reaction Movement Project (MRMP) last year, and now GI Alliance Dance Co. (GIA) and Matter Dance Company (MDC). After working with IDC for one season, they asked me to be a company member. I accepted, and am now working on choreography for our fall show in addition to performing.
I have big dreams which I hope to achieve: working together with my actor husband on choreography, producing concerts with friends, teaching dance (hopefully on the college level), and writing about my experiences.
Follow along. I hope you'll have fun.
I've searched for a dance blog that chronicles a dancer's daily life--going to class, preparing for auditions, facing rejection, seeing inspiring performances, working on projects...So here I am, with plans to write about those things.
If I were you, I would want to know a bit about the author.
My entire life revolves around dance.
I moved to Chicago a year and a half ago to pursue a performance career after the inevitable crash and burn of trying to "make it" in New York. Now, I work for a dance manufacturer most days of the week and am currently dancing with three companies. Seems like a lot, I know, but it's actually very manageable.
I seem to have found my place in the Chicago "fringe" dance scene, working with pick-up companies, meaning that they work with dancers on a project or seasonal basis. The world of small modern dance companies here is lovely: everyone is eager to work creatively, accepting of many different types of dancers, and just wonderful people in general.
I worked with Innervation Dance Cooperative (IDC) and Matter of Reaction Movement Project (MRMP) last year, and now GI Alliance Dance Co. (GIA) and Matter Dance Company (MDC). After working with IDC for one season, they asked me to be a company member. I accepted, and am now working on choreography for our fall show in addition to performing.
I have big dreams which I hope to achieve: working together with my actor husband on choreography, producing concerts with friends, teaching dance (hopefully on the college level), and writing about my experiences.
Follow along. I hope you'll have fun.
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