The Dance COLEctive announces a new direction

March 8, 2017
 
Contact: Jill Chukerman, jchuk@rcn.com, 773-392-1409

THE DANCE COLECTIVE ANNOUNCES NEW FOCUS, MISSION
Shift in Business Model and Structure Opens 

New Opportunities

Photo by Eric Olson

The Dance COLEctive (TDC), as it reaches its 21st birthday (March 8, 2017), announces a fundamental shift in its mission, organizational structure and artistic focus.

Founder and Artistic Director Margi Cole, in a desire to be more accountable to her creative process, has consulted with various stakeholders and is evolving the company as follows:

    •    Move from maintaining an ongoing ensemble of dancers to a project-based structure, hiring dancers as projects dictate, whether they are created and performed under the TDC banner, with other companies or in collaboration with other artists
    •    Engage in a solo-focused initiative during the next 18 to 24 months, during which Cole will dance and create/commission solos she intends for performance in a variety of traditional and site-specific settings
    •    Continue building a base of national and international residencies and mentoring opportunities for the development of new work and teaching

“For the last several years I have been questioning the suitability of the organizational business models we have used in dance to support our creative process and growth—a model that is constantly under-resourced and has become more difficult to sustain,” Cole said. “Now, more than ever, I think it is important to adapt and think about what one wants to do and how one does it in entrepreneurial ways. I feel it is my responsibility, as a practitioner and mentor, to not only share these ideas but also be an example of the power of change.”

Photo by William Frederking

Among the projects Cole is pursuing is the Solo Swap Project, a structured yet free-flowing peer-to-peer collaboration with another artist that provides a unique opportunity to share creative processes, knowledge and assets that result in the development of a distinct solo for each artist. This project aims to develop scalable work while expanding, exploring and deepening the participants’ work as artists. Throughout the creative process, artists move fluidly between the roles of performer and director/choreographer, building the work out of a collective curiosity and the spoken and movement dialogue emerging from the collaboration. The Solo Swap, appropriate for traditional or nontraditional spaces, allows the artists to form a partnership of mutual learning and take artistic risks at limited financial cost.

“Collaborating on a smaller scale is not new for me,” Cole noted. “I have always pursued and thrived in the solo form, but I have not made it my artistic priority. Moving in this direction acknowledges and advances the uniquely generative and collaborative nature of working with other artists on new creations.”

Though the structure and focus of Cole’s activities is shifting, the overall artistic direction is an evolution of TDC’s history and primary work. “A hallmark of our work is our focus on the personal,” she described. “We value small audiences and small venues because they allow for a more pared-down, pointed experience with the audience that emphasizes intimacy. Site-specific performances allow TDC to explore how dance should be performed and where dance can be found, meeting people where they are—on a staircase, in a lobby, on the sidewalk. Audiences have choices they don’t typically expect: where they choose to position themselves to view the performance, how they interact with the work and how long they decide to be engaged.”

This change in structure also allows Cole to continue an important aspect of her professional work and leadership as an artist: mentoring other artists locally, through her faculty position at Columbia College Chicago, as well as nationally and internationally.

“We are optimistic about our potential,” Cole stated. “Given our longevity and history of collaboration, we have no doubt the ideas we are generating, the work we are doing and the relationships we are developing today will reveal a dynamic and interesting strategy for artistic planning, growth and change.”

Photo by Lisa DeShantz-Cook

The Dance COLEctive, created in 1996, explores fresh approaches and unexpected twists by making and performing dance via solo and collaborative initiatives. TDC supports and advances the creative vision and curiosity of its artistic director, Margi Cole, as well as partnering artists. Dedicated to teaching and mentorship, TDC motivates and nurtures the next generation of artists in the studio and beyond.

Recognized for its compelling, socially relevant and inspiring choreography, the all-female company, comprising mostly emerging artists, has contributed to the support of more than 150 collaborating artists and organizations, including locally and nationally recognized choreographers, dancers and other artists. TDC has produced more than 80 works, including those created by Cole, guest choreographers and TDC company members. In fulfilling its mission and vision, TDC embraces collaboration as a core element of its creative process and nurtures and promotes the creativity of emerging artists through mentorship. TDC performs at traditional venues, creates site-specific work and conducts residencies annually, including performances, workshops, master classes and lecture demonstrations.

Cole has received recognition for her contribution to the field of modern dance through awards including the Illinois Arts Council’s Individual Artist Fellowship, a 2015 Individual Arts Program Creative Project Grant from the City of Chicago’s Department of Cultural Affairs and Special Events, a Chicago Dancemakers Forum grant and the American Marshall Memorial Fellowship, which selects leaders in their respective fields to represent the United States on a month-long tour of European countries.

Funding
The Dance COLEctive is supported by The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation, the Illinois Arts Council, The Gaylord and Dorothy Donnelley Foundation, The Albert Pick Jr. Foundation and many generous individuals.

For more information and updates about The Dance COLEctive, visit dancecolective.com; for more information about Margi Cole, visit margicole.com.

###

With Gratitude

Dear Dance COLEctive Enthusiasts,

The Dance COLEctive is wrapping up an excellent year of visible and diverse performance opportunities throughout the city of Chicago and beyond. We had the pleasure of performing at the Elgin Ties Dance Festival, the Pivot Arts Festival, and the Peep Show at Links Hall. Through our self produced concert Holding Ground, we produced dancer Madelyn Doyle's work for the first time, and we launched our very first Live Streaming Performance.  There were separate 209 devices, at least 400 TDC fans from around the country that hosted viewing parties and watched the show.

You can see our 2014 Year End Video here.

You can also see what the Chicago Tribune said here.
 
Almost 19 years ago I founded The Dance COLEctive as a means for my friends and I to produce and showcase our work. Today it is much more than that. Often seeking out new collaborations, we joined photographer Eric Olson in the studio with the idea of creating “piles” and intimate moving “portraits”.  You can see what a successful collaboration this was by viewing these images in our gallery.  

Photo by Eric Olson

 Artistically, I have been very fortunate this year. I mentored choreographers through the Thodos New Dances program, performed at the Going Dutch Festival, taught around the country, created work for Columbia College students, and studied dancemaking with master choreographer Joe Goode.  I continued to perform in a new dance/theater work with independent choreographer Peter Carpenter and was also acknowledged as a Woman of Inspiration by Today’s Chicago Woman.

Many good things are coming up for us this year, including my choreographic collaboration with Peter Carpenter, Rituals of Abundance for Lean Times #14: Curious Reinventions. We have every intention of sharing this with you through another live streaming performance. Fingers crossed!

Photo by William Frederking

Currently the company is comprised of 7 thoughtful and sophisticated young women (you can read some of the writing about their experiences here) who are helping me to fulfill my desire to mentor while also actively creating new work. Their dedication and remarkable growth as artists inspires and energizes me to keep finding ways to create performance and mentorship opportunities and to continue adapting to an ever changing landscape. The current national and local economic and political environments continue to pose serious challenges to TDC's future. Disappearing resources on the the state and city level, as well as more limited support from local foundations, continues to impact TDC's ability to support itself and its artists. This is why we need you more than ever. Many of you have been collaborators, students and mentors. Many of you are family, friends, peers, acquaintances, board members and audience members. You have personally witnessed my passion for dance and the power of a positive experience!

Please consider making a year-end donation to TDC.  In supporting us, you are not only making a financial contribution, you are investing in the continued growth of our artists. In addition, you will help us to create new and innovative dance and find more ways to share it with you.

To make a donation, simply go to our website or you can send a check to our snail mail address below.
You can also support us while you are shopping on Amazon.

Thank you so much for your continued interest in the Company and have a safe and wonderful holiday!

Most Sincerely, 

The Dance COLEctive is graciously funded by The Gaylord and Dorothy Donnelley Foundation, The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation,  the Illinois Arts Council, the Arts Work Fund for Organizational Development and many generous individuals like you.  Special thanks to our season sponsors Lakeside Bank, Pacific Management Inc. and the Rivendell Foundation. 

 Submitted by TDC Artistic Director, Margi Cole, Monday, December 22, 2014

Taking a Summer off to Ride Across the Country

Photo by Eric Olson

After I graduated college in 2012, my mind was set to epic proportions. I needed a cleanse of the city to recharge my creativity. I had heard about Bike and Build, an organization that focuses on empowering youth through raising awareness, fundraising, public speaking, and working as a team not only on the road but also on construction projects for affordable housing. A good friend of mine had participated in the trip and strongly encouraged me to apply.

Taking the entire summer to bike across the country was as nerve racking as it was exciting. I was nervous about all the logistics of when I would return; money, housing and in particular, dance. Our route, although beautiful, was at times physically demanding. We rode through multiple mountain ranges and became friends with forceful headwinds. It made me realize how far my body could be pushed.

Coming back to dance was an easier transition than I had anticipated, at least on a cardiovascular level. My movement pick up skills were definitely rusty, which I expected, but I put more pressure on myself to stay focused in rehearsals because I had taken the summer off from dance. It was also nice to come back into a supportive environment and dance community. Margi and the Company were all very encouraging before, during, and after my trip and helped to correct the things that were off in my body. Additionally, I was ready to start creating and collaborating again. The summer was buzzing with new experiences, new places and people coming from all walks of life that I could now bring to the table.  Reflecting back, my decision to take a break was totally beneficial. It challenged me to face my goals, especially those relating to the field of dance, and it boosted my creativity by giving me a new outlook. Although my dancing body wasn’t in the same position before the trip, I had a new appreciation for the art and desire to get back in the swing of things. When it comes to travel and creativity, the words of St. Augustine sum it up,

“ The world is a book and those who do not travel only read one page.”

Submitted by TDC Apprentice Julie Boruff on Tuesday, April 23, 2014. 

Five years forward or Five years back?

 

Photo by Eric Olson

Where will I be in five years? It seems a popular question to ask.  But for me, the opposite question gives me more opportunity to assess my current state.  Five years ago, where did I think I would be today?

Allow me to start at the beginning. After graduating with a BFA in Dance, Performance & Choreography, I moved to Chicago to pursue dancing with The Dance COLEctive.  Four years later, I am now the Manager of a small children's dance studio here in Chicago, the owner of which lives out of state. Like most people, whatever I thought I would be doing five years ago is not what has happened or even will eventually happen. I had never dreamed of owning a dance studio, and I certainly never thought I would find myself running one for someone else. So here I am, making a career out of my passion (and the degree that I will be working to pay off for the next 15 years) and taking every opportunity I can to squeeze the juice out of this life in order to make a living. 

Ups and downs come with any job and just because I am working in a career field that also happens to be my passion does not eliminate those struggles. It DOES force me  to evaluate my life and my "passion" on a daily basis. I often ask myself " Do I really know what I am doing?" or " Is this going to work?" When it comes to studio business decisions, I go with my gut; to be honest, most of what I have done is completely trial and error. Luckily, it has worked out so far and I have helped to grow the business through what I would call 'Personal Force'. Being the only Manager, teaching most of the classes, and being responsible for all the administration and housekeeping, I am literally doing it  ALL. However, at the same time I am responsible for it ALL. Do we want to increase enrollment numbers by adding classes in the morning? Sure! Olivia will teach those. Do we want to encourage community togetherness with Friday night dance parties? Yes! Olivia will teach those. More dancers equals more phone calls, of which Olivia will answer. Should we make a shift to being paperless in our communication? Of course! That means more emails for Olivia to answer. I have found that with growth comes more "opportunity", but when you are the all-in-one manager/teacher/maid/administrator that means more work for YOU. 

Quite literally, I have opened the door for this growth and then accepted the consequences by taking on more responsibilities. Of course it is rewarding to see that what I am doing is working, but I often wonder if this work I am doing (for someone else's business) is the best path for me.  Should I reevaluate what part of the dance world my passion lies?  Where do I think I will be in 5 years? I really don't know, so be sure to check back in with me in 2019, and I will let you know how these next five years pan out.

Submitted by TDC dancer Olivia May, on Tuesday, March 13, 2014. 

Life after college - what they DON'T teach you in school!

Photo by Eric Olson

I am forever grateful for my time in the dance department at Appalachian State University. I grew tremendously over my four years in the program. My passion for dance intensified and my creative vision matured. I made friends that will be my connections in the dance community for a lifetime and formed relationships with professors and mentors that I hope to continue to grow throughout my career.

          

What I failed to fully realize during my college experience, however, was that I was living in a tiny dance utopia. It was a world filled with like-minded friends who wanted to sit for hours and discuss our latest choreographic fantasies, with constant opportunities to take FREE master classes and workshops, and a space to perform and present work in the most open and accepting community. A perfect world! I didn’t realize just how spoiled I was.

          

My last two summers in Boone, I had an eye-opening and inspiring experience participating in a program called Now and Next Dance Mentoring Project, created by Ashley Thorndike-Youssef. The program is a tiered mentoring program including professional dance artists, college dancers, and middle school aged girls. Through refreshingly candid discussions with the professional dance artists, I gained a clearer understanding of how to make a life as a dancer. We discussed topics like how to pay the bills as a dancer and the variety of jobs that these successful dance artists had held throughout their careers. We talked about the importance of keeping connections and engaging in your community, as well as practical matters like health insurance for dancers, writing grants, and filing a dance company as a not-for-profit. This was all extremely valuable knowledge that I wouldn’t have gotten in my normal dance courses and am grateful to have had passed along from the seasoned pros. 

          

After almost three years in “the real world”, I have learned a lot about piecing together a life as a dancer. It’s not quite as peachy as it was in college, with everything laid out for me, but it’s an adventure. I value the time I had in college because it allowed me to grow into a mature artist in a safe and nurturing environment, but even more, I value the time I have right now to challenge myself, push myself out of my comfort zone, and find my individual voice as an artist and dancer. 

Submitted by TDC apprentice Molly Kirkpatrick on Monday, February 24, 2014. 

Life after college - following your dreams but paying your bills too!

Photo by Eric Olson

After graduating from Appalachian State University with degrees in Dance Studies and Psychology, I moved back home with my parents to figure out my next step and save some money to make that step possible.  After a couple months of working and living rent-free (thanks, Mom and Dad!), I decided I had saved enough to make a leap of faith and move to “The Big (second) City”. I knew I wanted to be in a place where I could be a part of a thriving and innovative dance community and hoped Chicago could be that place for me.

I was lucky to find a job working in a dance store fairly quicklyt after moving, which made it possible for me to enjoy my free time exploring the city and especially the vast dance scene. At the end of that first summer, I auditioned for the Dance COLEctive and was so pleased to accept an apprentice position with the company. I felt as though I had achieved my dream! I was living in an incredible city and had landed a real-life dancing job! I was over the moon.

I can honestly say that I still feel this same way. I am still in love with this city (more so when the temperature is in the positive range!) and haven’t stopped exploring all that it has to offer. I am currently working two jobs to make ends meet. One as a clinic coordinator at an acupuncture and massage clinic and the other serving at a local bar. I love my jobs. I work with amazing people and feel appreciated for what I do. But most importantly, working these jobs makes it possible for me to pay my bills and allows me to dance with the unbelievable women I spend every Tuesday and Thursday with. I feel lucky to be able to pursue my passion in such an incredible place with the inspirational support and friendship from the TDC team. 

Submitted by TDC Apprentice Molly Kirkpatrick on Tuesday, February 11, 2014.  

The Path I Traveled

Photo by Eric Olson

Years ago, I thought long and hard on the big decision of where I wanted to go to college and what I'd be doing for the rest of my life. The only thing I knew and kept reverting back to, the place where I felt most comfortable and like myself, was when I was dancing. I am truly thankful my parents supported my ultimate dream, no matter the cost. (Trust me, I’m definitely paying for it.) Sometimes I wonder why they didn’t avert my ambitious 17-year-old-self from attending a school in which I could sustain a job that allowed me to support myself financially. What did I know? And then again, would I listen anyway? But, in writing this blog, I’m really glad they didn’t. I fully enjoyed my college experience once I stopped being a homesick baby. I wore sweatpants to class, I went to dance performances and dinners, I danced every day for four years while learning to stand on my own. Sometimes it was brutal and exhausting, but well worth the exploration. Not to mention, I met a lot of great people who are a huge part of the Chicago dance scene, and my life.

I worked part-time through college at a dancewear store a few blocks from my dorm in the city. After graduation, that job turned into a full-time opportunity, so I stayed. The first year after graduation, I went to numerous auditions- the pickings were slim and like all auditions, competition was intense. I am not a highfalutin dancer, probably the least flexible dancer in the history of the universe, but I found where my quirks and creativity were acceptable. This occurred a year later when I was asked to be an apprentice with The Dance COLEctive. Though the apprenticeship was an unpaid position, I was able to put my BA in dance to good use, and luckily I had a job that supported me and two roommates to help share the costs of living.

Along my way, I strangely stumbled into the field of law. I think I got lucky considering the fact that I now work full-time as a legal assistant downtown. I never dreamed of this when I was younger, ever. Dancer? Yes. Teacher? Maybe. Legal assistant??? No. Never even a question. But I feel really grateful that I understand and am pretty good at what I do, as it pays the bills. It’s one of those things that definitely happened for a reason. Working a 9:00am to 5:00pm is convenient and sometimes redundant. And redundancy is well, redundant. I'd like to know what job isn't. I’m glad that my schedule allows "me" time to even have a source – an outlet granting me the opportunity to take an uppercut to my routine – rehearsing, teaching, creating work, performing, and taking class year round.

I have come to find that it is tough to find a dance career that pays the bills, even now as a company member, and in this teetering economy. I am happy that I get to do what I love on nights and weekends and have the monetary support I need working during the day. Grant it, most of my days are technically 12 hour workdays and on occasion there is sacrifice for fun, family, and time, I get to do what I love which definitely keeps me sane. Most people can't say that and maybe some people don’t even get the chance.

Dance and TDC has been a major constant during the most important time of my life while finding myself and evolving as an adult. It’s always been the one thing I can rely on. It’s hard to count on and trust people, but every Tuesday and Thursday night, I know my team is there, and I know I can find myself there too.

Submitted by TDC dancer Katie Petrunich on January 26, 2014.

Aim, Journey, Tackle

Photo by Eric Olson

I have been around The Dance COLEctive block a couple times. Heck, I’d say I’ve been living in the neighborhood for quite some time. Margi Cole began COLEctive Notions the first season I joined the company (2009-2010). I was able to be a part of each year’s process since then, observing the ins and outs of each choreographer’s decisions and being aware of all the behind-the-scenes action, and learning what it takes to put an entire show together. Allowing the time to become a stronger dancer and letting the techniques and customs of TDC sink into my body and thought processes made the wait well worth it.

In order to choreograph for this dancer-produced show, one must be a company member for two years. Starting as an apprentice for my first two years and then continuing on my TDC journey as a full company member - four years later, I was eligible to submit a proposal for the upcoming show. I felt seasoned and ready, and luckily, I had an idea. (And fortunately for me, Margi was also supportive of that idea.)

I had a wonderful experience working with my fellow dancers, Julie Boruff and Shannon Edwards. They worked wonderfully together, trusted each other and trusted me, which I appreciated tremendously. Their dynamic movement styles fueled my idea, bringing the duet to life. Their vulnerability spilled over, leading the piece to its fullness - sharp and soft movement sweeping the floor.

My initial concept shifted throughout the process as well, but I accepted the flow, rode the wave and let it create itself. I had to trust my gut in that I was making the right decisions, which came fairly easy. I grew up choreographing, in high school mostly, and it’s always been an artform that I thoroughly enjoy.

I would definitely choreograph again if I was given the chance, and another concept sparked my brain. I already have the wonderful opportunity to work with a great group of dancers, which makes the whole process fun, easy, inspiring and completely satisfying.  Margi has graciously given us the chance to take the stage in a different way and I am thankful to have her support and expertise. Her willingness to let us represent our voices under The Dance COLEctive’s name is an honor and definitely one of my biggest accomplishments as a professional dancer.

Read the review about the show here in The Huffington Post. 

Submitted by TDC Dancer Katie Petrunich on Sunday, January 12, 2014

A letter from the Artistic Director

Dear Dance COLEctive Enthusiasts,

The Dance COLEctive has had a good year of visible and diverse performance opportunities throughout the city of Chicago.  We had the pleasure of performing on the stages of the Pritzker, the Museum of Contemporary Art and Stage 773.  We have offered audience members an opportunity to interact with and make changes to our work in the hope that being transparent about our creative process will give you some insight into what we do.  It is with that transparency in mind that I am writing to you today, quite simply to ask for your help. 

Photo by Eric Olson

Almost 18 years ago I founded The Dance COLEctive as a way for my friends and I to produce our work. Today it is much more than that.

In addition to being a vessel for creating thoughtful dance and performance art, TDC is deeply committed to mentoring young artists to be well rounded professionals capable of succeeding independently. The ability to make & produce work, think entrepreneurially and to articulate themselves as artists are all key skills imparted to our promising dancers and collaborators.

You can read about this work here in the Huffington Post.

Currently the company is comprised of 7 thoughtful and sophisticated young women (you can read some of the writing about their experiences here) who are helping me to fulfill my desire to mentor while also actively creating new work.  Their dedication and remarkable growth as artists inspire and energize me to keep finding ways to create performance and mentorship opportunities and to endure when things get tough.  The current national and local economic and political environments continue to pose serious challenges to TDC's future.   Disappearing resources on the the state and city level, as well as more limited support from local foundations has had a very real impact on TDC's ability to support itself and its artists.   This is why we need you more than ever.  Many of you have been collaborators, students and mentors.  Many of you are family, friends, peers, acquaintances, board members and audience members.  You have personally witnessed my passion for dance and the power of a positive experience!

Please consider making a year-end donation in support of TDC.  In supporting us, you are not only making a financial contribution, you are investing in the continued growth of tomorrow's artistic leaders, as well as in my unwavering desire to mentor those artists and to create new and innovative dance.

To make a donation, simply go to our website or you can send a check to our snail mail address below.

You can also support us while you are shopping on Amazon.

Thank you so much for your continued interest in the Company and have a safe and wonderful holiday!

Most Sincerely,

Margi Cole, Artistic Director

 Submitted by Margi Cole, TDC Artistic Director on December 15, 2013.

On starting her own business

 

Photo by Eric Olson

Mongan Dance Academy opened in June of 2013. It was a long time coming. As beautiful as the studio is, it first started as just a thought.

My mom and I have worked together before. We had several conversations about how awesome it would be to bring our two passions together and create our own business. I am a lifelong dancer with a passion for teaching, and my mother is a brilliant business woman with a love for the youth. An opportunity arose and we took it, knowing that we were risking a lot. However, it was a risk we were more than willing to take.

The easy part was our creative collaborations. Finding a space on the southwest side of Chicago seemed logical. Deciding on a name for our business was a thoughtful process, but we soon agreed to use the name of the street my sisters and I grew up on. It was a place where the whole family grew together. Soon enough, we found a quaint space that would most definitely serve wonderfully as Mongan Dance Academy. My mother put her extraordinary talent of crafting, woodwork, and designing to work. Soon the space was a beautiful dance studio, complete with mirrors, hand-crafted ballet barres, and dance floors.

The biggest challenge wasn't putting our minds together, it was pulling in clientele. We were off to a slow start. Our student body was minimal and our means of marketing were reliant on the two of us. We were interviewed for news articles, posted flyers, and even walked door to door throughout Evergreen Park, IL. We decided to have a five week summer camp promotion instead of just normal classes. We developed a Facebook page, joined a text marketing program, had booths at local vendor fairs, and walked up and down the lined streets at the Fourth of July parade. Somewhere between the Facebook setup and the parade, we hit a boom. Calls flooded our phone lines and soon we had to open another day of camp just to accommodate our pre-school kids. The program went wonderfully and soon we started our Fall Program.

Of all the marketing we tried, our clients reported that Facebook posts and re-posts caught their eye and prompted them to call. Word of mouth tipped and soon friends and family were joining. As the students consistently trickle in, we are excitedly waiting for our next boom.

Dance students have showed eager interest in the program. Yet, somehow, adults are still unwilling to join in with our incredible fitness classes. It seems that the workout world on the southwest side of Chicago stays popular in gyms. We have a small group of devoted attendees, but our newest challenge is bringing in an even larger adult student body.

Mongan Dance Academy has truly been a dream come true thus far. It is so great (contrary to popular belief) to be working so closely with my mother. Challenges are super common in this journey. However, I believe these challenges only exist to better our program in the long run. I have learned so much about myself, my dancing, my teaching ethics, and team building. Ultimately, Mongan Dance is worth every bit of the hard work it has taken.

Submitted by TDC dancer Shannon Edwards on November 12, 2013.

Written in Sand

 

Photo by Eric Olson

When presented with the task of creating a year-long curriculum from scratch, I first had to sit down and re-acquaint myself with my teaching philosophy. I made sure I reflected on what was important to me, and that I still felt that way. Not much had changed since its birth, so moving on I had to assess what my goals were for the year. Since my school is "an academy," we include 7th and 8th grade. Therefore, setting goals that were appropriate for each grade level was extremely important to the program's success, besides the fact that it was co-ed. To be honest, I wasn't sure about how I was going to sell a creative movement class to 8th grade boys on the South Side of Chicago...
 
I attacked this project as I would anything else; I researched everything I had that said "Dance" on it, met with multiple Dance Education teachers in the area to pick their brains, and emailed just about everyone I knew that would have any insight to gather more information. I still did not feel adequately prepared to start creating something and really had no idea how to start putting things down on paper. But the clock was ticking so I had no choice but to dive right in. The exciting thing about Lindblom is that their dance program is part of the Fine Arts Department, so I knew I could practice creativity with a project-based curriculum (which definitely aligned with my philosophy). I organized the concepts that were most important to me in a clear and sequential pattern, an order that made the most sense throughout the year. I then made sure that each concept had objectives, aligned with National and State Standards, had appropriate assessments, essential questions, and enduring understandings. Our Fine Arts Department is very interested in the students' ability to ask questions about concepts for use in other settings, not just in school. So I made sure that my objectives and goals gave my students the opportunity to extract certain experiences from our units and use them to answer bigger questions.

The fear of being ill-prepared to create something successful and substantial that lurked inside of me only subsided when I started. I have found that the hardest, and most rewarding, part about building a curriculum is that it is constantly growing. One of our philosophies at LMSA is that we "write in sand," so application of that theory allows for the curriculum to be changing, adapting, and building itself over again, every step of the way. We take the responsibility of always updating and providing the freshest material to our students so that we can give them the best practice possible. It is something that I will refer back to forever. I will constantly add and subtract elements. It is alive, and although the task of completing a year-long scope and sequence left me indoors for the last month of my summer vacation, I am extremely grateful for the chance to say I have done it.  

Submitted by TDC Dancer Madelyn Doyle, Tuesday, October 29, 2013. 

From Some-time to Full-time

Photo by Eric Olson

As things normally go in the teaching world, my most recent position came at me with little to no warning and started almost immediately. Before I could organize my fall plans and gather my other teaching gigs together into a nice pile, Lindblom Math and Science Academy violently trashed all of those neat little piles into a giant mess; in a good way.

Since graduating from high school, I knew that getting my teaching certification in dance to teach in a public school was my goal. I never strayed from this path, and although it took quite a bit of time longer than expected, I am thankful for my current situation. I have a wonderful department that is extremely supportive of my aspirations and goals for the school, and I am thrilled that I get to share my knowledge and creative juices with their students. Unlike other high school dance teachers, I get to maintain my position with The Dance COLEctive because the school supports outside professional practice and does not require its teachers to produce X amount of shows per year, and stay after school for X amount of hours to make that happen. I am a part of a Fine Arts Department and NOT a Physical Education Department  which can be like finding gold for teachers who have the same philosophy as I do. Being a part of a Fine Arts Department allows me to experiment. It allows me to create projects with my students that they truly care about, even though they might have never danced a day in their life. It allows me to collaborate, create, and stumble upon new ways of doing things. P.E. Departments, for the most part usually already have a set way of doing things and awful requirements such as fitness testing (which does not align with my teaching philosophy) that I would have to administer. We all remember those, yuck! The besy benefit of all: I get to create my OWN curriculum. I don't have to follow anyone else's rules, I don't have students telling me "well, Ms. so-and-so did it this way." I made it out of thin air, which was not an easy feat, but it's mine and it is constantly changing and growing. It is something I will use forever, and I am grateful to have said I have done it, but you will hear more about that in my next post.

The hard part about being a full-time teacher, especially in my specific situation, is that I am the only dance teacher in the department so I don't have a counterpart to offer ideas or feedback. I had to create the entire curriculum alone, which I also now have to constantly adapt and update while learning all the new systems Lindblom uses at the same time. I also have to keep my other jobs under wraps (TDC and a studio in the suburbs I have worked with for years). I really have no time to stop and catch a breather because besides all of that, I have to make sure I haven't forgotten about friends and family!

I have found that no matter how much work you have to do, it's important to remain social, keep doing the things you enjoy, and there may be times you just need to quit what you're doing and go to bed at 9:30... sometimes it's for the better. Overall, I wouldn't change anything about the opportunity I have been handed. I know this will be my hardest year yet, but the learning experience I will gain, and the arsenal of knowledge I will own, will be priceless. 

Submitted by TDC Dancer Madelyn Doyle, Tuesday, October 15, 2013. 

Professional Dance: The Balancing Act

Photo By Eric Olson

Since I moved back to Chicago in 2006, I have consistently danced with two or more companies at the same time. Over the course of a season or an overlapping project the juggling act ebbs and flows between being adequately balanced and completely exhausting.

One of the biggest lessons I’ve learned is that rehearsing for two companies within a single day is very hard to manage. The level of energy and focus required for two separate 4-hour rehearsal periods is simply too much for me. I never want dancing to feel like a job, and when I am so tired I start to resent having to move through space, I know it’s time to reevaluate my commitments. Now I try to make sure that my rehearsals are each on separate days of the week, and that gives me the space I need to recharge and remain present throughout each company’s rehearsal process.

Though the performance schedules of the companies I’ve danced for are often spread throughout the year, November 16th may prove to be very interesting. To celebrate the tenth anniversary of the Chicago Dancemakers Forum (CDF), I will be performing with The Dance COLEctive, Ayako Kato/Art Union Human Scape, and Khecari at the Museum of Contemporary Art, all within a 1.5 hour window. Quick changes, here I come!

The company is very excited about participating in the Chicago Dancemakers Forum Break Out! Celebrating ten years of supporting new work by Chicago dancemakers on Nov 16, 2013!


Submitted by TDC dancer Maggie Koller, Thursday, September 26, 2013.

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

Overwhelmed in a good way

Photo by Eric Olson

Nearing the end of my second season as a part of TDC, I’d like to talk a little about my experience with the Company. 

I began abruptly as an apprentice to the company in the Fall of ’11, and was thrown into the fast-paced process of recreating, actually exactly reproducing the piece, Pull Taut, which I had seen the year before and particularly enjoyed. You could imagine my excitement when I learned of the Company’s plan. I had learned movement from video before, but this was unusual because I was trying to find my niche within the Company as a new member, while at the same time discovering material that was counter-intuitive to my body (since it was someone else’s). It was uncomfortable and difficult for me to handle both, but I was glad that I was put into something like that. It was a learning experience and something that I will always remember when approaching new things. After the dance was reproduced (it seemed like it was done in minutes), we moved on to our new material that would form into Moving Stories, a piece that we also recreated for the Pritzker Stage this past April. It was my chance to bring forth my own material, and show the Company what I could contribute. I was overwhelmed in a good way and couldn’t wait for more. 

I re-auditioned as a company member, and started my second season the Fall of ’12. It was interesting because the newest additions of the company, Molly Kirkpatrick and Julie Boruff began their time with TDC learning 13 from video, an experience I was all too familiar with. I understood how intimidating their position might be but they were so laid back with their ability to adapt and go with the challenges with which they were presented. We then got started on some new material which developed into in orderly fashion. This piece gave the Company the chance to work in a completely different way from what we were used to. I loved the intimacy and awkwardness of the material. It  made for an interesting piece. We performed this on Stage 773, another experience that was new for the Company. The venue was incredibly intimate, which benefited the piece, I think. From that performance, we went on to the recent FlySpace collaboration which I’m sure you have been savvy to. If not, you definitely need to check out what’s been happening. 

So now we have returned to our regularly scheduled programming, which is the Company member produced COLEctive Notions. This production consists of 3-6 brand new works presented by TDC Company members, on TDC Company members. It is a smaller production, usually performed at Links Hall, but recently, we have been presenting in the Fasseas Studio of the Drucker Center which is much more ideal. You definitely need to stay up to date on that performance, as it will not be taking place until the beginning of November. We are also in the middle of auditions and callbacks. It was so exciting to see all of the supporters of TDC and the people who are interested in the Company! So that’s my story with TDC. As of now, I’m looking forward to new experiences, both for the Company, and as a member. As we all know, the times are changing for dance companies and The Dance COLEctive has been admirably on top of some pretty innovative ways to stay in the business, so stay tuned! 

Submitted by TDC Dancer Madelyn Doyle, on May 20, 2013.  

Season Reflection

Receiving the opportunity to apprentice with The Dance COLEctive this season has provided me an environment of artistic and personal growth.  Almost every rehearsal begins with a company class that focuses on technique, strength, and movement pick up, ext. I look forward to this every week and have learned that it is a gift to be able to have class before every rehearsal.

Photo by Eric Olson

I have always enjoyed creating movement and learning different techniques on how to approach the creation process of dance. As an apprentice this year I have learned that collaboration is a key to success and growth. I have learned my habits as a mover, meaning the type of “moves” I rely on. This year I have been challenged to abandon these signature moves to create characters, relationships in space and to experience a new vocabulary of movement in my body. For example I have learned that as a mover I tend to create quick, sharp and whirly phrases but this year I have tried to break out from my norm. I am learning that taking the time to experience the movement can then in return tell what is important, what the viewer needs to see.

This year I have enjoyed collaborating with the other company members. Before joining The Dance COLEctive I had only a little experience in partnering. I was always hesitant to giving or receiving weight and simply not knowing how to create a duet. This year I have had to be challenged to create many duets and how to trust in partnering. Now something that was outside of my comfort zone is becoming an aspect of dance that I look forward to pursuing.

This season has challenged me as a performer to really see the audience. In my past experience as a performer there has always been a separation between the viewed and the viewer.  I have found it difficult yet intriguing as a dancer/artist to look at the people watching, to talk to them, to engage with them while moving.  This season is teaching me to more than a dancer on the stage but to just be myself while performing. I am looking forward to what the next season/year will bring. There are always new things to learn, more movement to discover and opportunities for growth.


Submitted by TDC Apprentice Julie Boruff on Sunday, May 5, 2013. 

Past- Forward

Photo by Eric Olson

Past:
I was first introduced to dance in the 6th grade, I was told “cool” girls dance. I guess I wanted to be cool so I took a class and fortunately got hooked. However, before coming to Columbia College Chicago I had no real formal dance training, but that’s a whole different story. My first modern dance technique class was with Margi Cole. I had no
idea what I was doing. I was swishing on the floor, doing contractions, getting acquainted with my sit bones, experiencing the prance for the first time and more. Through my inexperience, I desired to learn. Margi was a teacher that I highly respected. She helped me find the technique that was buried in my body. My freshman year of college, I saw a few dance shows, but the one I remember the most was The Dance COLEctive’s when I saw 13 for the first time. I remember connecting well with the piece. I was not only inspired by the content but also by the dancers. I admired their presence, movement vocabulary, humor, and ease with speaking on stage. It was a level of professionalism that I wanted to embody. Entering into my junior year of college, I auditioned for TDC. I did not make it into the company that time around but I knew I would try again. I had Margi as a teacher a few more times at Columbia, but in my final semester, I grew as a dancer and performer under her direction. She taught a Performance Rep Class during that semester, teaching our class how to behave, learn, grow and perform like a company. I respected the way she treated us and how she was able to handle any situation. So when summer came around, I again auditioned for the company.

Forward:
Having the opportunity to be a part of TDC this year has been a true joy. It was surreal to be a part of the recreation of the piece 13 because that was the first piece I had seen  my freshmen year of college. I have been challenged as a performer through different performance spaces, audience awareness, movement vocabulary, text and content of the various pieces we have worked on. As an artist/dancer, being challenged both mentally and physically is crucial, and TDC provides that environment of growth. We are currently polishing up Moving Stories, a piece to be performed during the launch of FlySpace on the Pritzker Stage next weekend April 12-14. There is such a natural raw beauty to the work that I have not felt in a long time. The piece is honest, intricate and very human. I am excited and dazed to be able to perform with The Dance COLEctive not even a full year out of school on the Pritzker. I am looking forward not only to our next performance but to what the next year will bring.

Submitted by TDC Apprentice Julie Boruff on Thursday, April 4, 2013.  

The Big Leagues

After graduating from Appalachian State University in the mountains of North Carolina with degrees in Dance Studies and Psychology in May 2011, I knew that I wanted to continue dancing. I didn’t exactly know how I was going to do that, but I knew that I wanted to find a dance community in which I wouldn’t lose myself. A place where I could be challenged creatively and fulfill my desire to be a part of making and presenting interesting and meaningful work. Somewhere I could be part of the process and part of a team. I feel so blessed to have found all of these things as an apprentice this season with The Dance COLEctive! 

Photo by Eric Olson

I visited Chicago only a handful of times before I decided to move here this past June. I loved the city. It felt like a big city with a small neighborhood feel and extremely friendly people. I was up for a new adventure. I took dance classes at a number of dance studios whenever I was in Chicago. Then, during one of my visits, TDC company member Olivia May invited me to  an open company class. I knew Olivia from our hometown of Raleigh, NC. I am so grateful to her for allowing me to tag along and get a taste of the the Dance COLEctive. The class was wonderful! All the dancers were welcoming and Margi’s class was challenging and fun.

When I finally built up enough courage (and money) to make the move to the big windy city, I made the leap. With a good friend from home, in a Penske truck filled with all of our belongings, we steered north – and a little west.  Once in Chicago, I tried to take advantage of as many dance classes and opportunities as I could. I was overwhelmed (and still am) by how much is going on here. I attended The Dance COLEctive audition in August, immensely intimidated to be at my first ever professional audition. After auditions and call backs, I was so pleased to be offered an apprentice position with the company. I literally jumped up and down when I received the email from Margi. And now, after our first performance together this season, I really feel a part of it all. Surrounded by inspiring and powerful women, dancing to my heart’s content, I can officially say I’m livin’ the dream.

Submitted by TDC Apprentice Molly Kirkpatrick on Sunday, February 10, 2013.