This spring, Core Dance is welcoming Katie Messina to the team as our communications intern. Katie recently graduated from Emory University, and is currently dancing with Kit Modus and ImmerseATL. She is a beautiful mover and person, and we are excited to have her in our office - and studio! Katie took a class with one of our guest artists, Niv Sheinfeld, and reflects here on that experience. Niv Sheinfeld and Oren Laor are here for American Playground and The Third Dance, as well as CoreoLab - during which they will work with our Dance Artists and other invited members of our community for three weeks. Read on to find out what Katie has to say about her hour and a half with Niv!
Last week, I had the opportunity to watch a studio run of Niv Sheinfeld and Oren Laor’s American Playground, featuring the Core Dance Artists. Afterwards, I was excited to meet Niv and Oren, and to take Niv’s contemporary class. Though I had seen a rehearsal, I didn’t know what to expect of his class. Ultimately, I was reminded that there is a certain beauty in doing the same phrase several times in one class. It allows a mover to discover something new each time.
We began by slowly working through a phrase, taking our time moving from pose to pose in order to warm and wake up the body. Rather than immediately discarding it as the ‘warm-up’ and moving on, we dove deeper into the phrase, adding more and more in length - moving in and out of the ground - and then adding textures and new ideas. We did the same with our next phrase. We began slowly and later added speed, directional changes, and more phrase work. In both, we began in silence and then layered on music as we became more comfortable with the material.
I found this incredibly enjoyable and it was a centering way to begin a new week of dancing. Repetition gives me the ability to dive deeper into researching my own body and the concepts that a teacher might present. I focused on my weight displacement, and body patterning as Niv talked about where each movement should originate. It’st is important to pick up new material quickly, but sometimes, it’s satisfying to not have to think about the combination, and be able to focus and invest entirely in the process. It’s a nice change of pace.
I began consistently taking class with Core Dance over the summer. I had just graduated from Emory University, and was hoping to immerse myself in the Atlanta dance community as a new artist, not just as a student. I am especially excited to participate in Niv and Oren’s CoreoLab, which will take place February 4th through 22nd.
Core Dance’s commitment to preserving and passing on choreographers’ approach to their work was a factor in creating CoreoLab, as well as aiding in the professional development of young artists. It allows for international sharing between new bodies, and gives a space to investigate among movers. Just like in Niv’s morning class, we will be focusing on the process, not just an end result. It will be a chance to dive deeper into exploration, which is rare in today’s dance world where we often are commissioned to create with a set deadline and end product required.
2019 officially marks 25 years of Fieldwork at Core Dance! To celebrate, we asked Jacque Pritz, a Fall Fieldwork 2018 participant to tell us a little bit about her experience. Spring fieldwork sessions begin at the end of this month! If you would like to create new work, receive fruitful feedback, and have the chance to perform, register today. To learn more about the process, read on to hear Jacque's thoughts.
When I first moved to Atlanta in September, I was eager to explore the artistic community. I was excited to discover Fieldwork, which offered the perfect opportunity to jump right into a creative process.
Before this fall, I had never participated in Fieldwork, but had been in similar processes where I presented works-in-progress and received both structured and unstructured feedback. When signing up, I was especially excited to work with artists of other mediums! My cohort was of all ages and various art forms. I was the youngest as a 20 something year old, with the group ranging all the way to retirement. We represented dance, music, singing, performance art, theatre, and storytelling. Some of us pursued our art full time, some part-time, and some were casual hobbyists. We were an eclectic group, to say the least. Despite our differences, Fieldwork brought us together as artists and audience members.
Each week we’d come together and give every single person feedback. During the very first session, our facilitator, Sheronda, explained the nature of Fieldwork, its purpose, and (most importantly) how to give useful feedback. We attempted to stay away from “I like…” and “I dislike…” Don’t get me wrong, that can be helpful to a degree. But we challenged one another to get deeper, especially trying to articulate why we responded a certain way. We were given useful tools: “This reminded me of…” “I was distracted by…” “I connected most to…” Most of us in our cohort were new to Fieldwork, with only two veterans, so of course we’d occasionally slip. Whoops! Luckily, Sheronda would help us rephrase what we were attempting to relay.
There are several parts of Fieldwork that I especially enjoyed as a participant:
The 10-week journey went by very quickly. I expected to have a perfect finished work by the end of Fieldwork. Ha! I definitely put that pressure on myself. This process made me realize that I need a long period of time to choreograph a finished work. I learned something new about myself as an artist: who can be upset about that?
Personally, showing work is daunting and makes me feel vulnerable, especially when I tell myself that it’s unfinished. But the work has come a long way since it’s first showing on Week One. What was neat was at the end of the show, the audience was given an opportunity to take a swing at giving feedback on the presented works. Especially since I considered my work one that was still in-progress, I was grateful to receive feedback that I can use for my next rehearsal.
I was surprised by how much I received from this process: a newly presented dance, invaluable feedback, a high quality video recording, beautiful pictures, personal reflections on my craft and my own creative process, and a new network of artists that I can contact if I ever wanted to collaborate. Would I do Fieldwork again? Absolutely. I loved the structure of the program and I encourage anybody who is even remotely interested to sign up or inquire for more details.
Barbara Branson, Publications Manager, and the People of Core Dance