The Impact of 8 Seasons on the Choreographic Process

Photo by Eric Olson

By now, I have a pretty clear sense of Margi’s aesthetic. There are certain movements, points of initiation, or ways of making contact that I know will likely be edited out or eventually given “salt and pepper” to ensure they fit the Margi Style. Being aware of these nuances is useful because while I am given (almost) full creative license when generating material, I am able to impose boundaries on the movement I develop in this initial phase of the process. Also when working collaboratively with other dancers, the choices I make (and often lead the team effort toward) are informed by what I’ve learned from Margi over the years, both from her direct requests and feedback, as well as through my own observation of her vision for movement and interaction.

After all this time, I’m still pretty excited by Margi’s way of working. I think it’s because though similar in underlying structure, the actual process she engages us in changes with each new work, and it continues to present a challenge. I’m always excited to start a new piece. The idea itself is unfamiliar. The way I react to the source material (for example, a word list to build movement from) is fresh and hopefully untried. And Margi is consistently adding layers to her process. Whether it is the use of text, time constraints on the choreographic exercises, limitations in space, the inclusion of improvisation, or anything else, Margi’s decision to push the way she works has kept the experience of dance making enlivening, even after eight seasons. 

Submitted by TDC dancer Maggie Koller, Sunday, September 15, 2013