Looking up to the girls

When my young 23-year-old-self stood in the rehearsal space, it was a pleasure looking up to the top dogs who were the heart and soul of TDC – Molly Grimm-Leasure, Maggie Koller, Alaina Murray, Kaitlin Bishop, Jessica Post, Olivia May, and Summer Avery. Holding much respect for these women, I embraced the opportunity to learn from each of them, all the while carefully surveilling their technique. The way they worked together and moved; I was constantly in awe. We created concrete bonds that helped shape who I am today. Even though things have shifted since then, we still remain as friends.

In 2009, Shannon Edwards and I came into the company as apprentices. The year prior, Summer was an apprentice and had then moved up in the company as a member. I felt that we connected most and I like to think it was because she understood where I was coming from and how it felt to stand where I was. (That could also just be that Summer is such a giving person and probably one of the nicest people I know.) She took me under her wing and I recall numerous times she was there for me especially when I just needed a friend.

Summer was the first to leave that year. She was moving out of state and I still remember that sad announcement. It was devastating because a piece of us, a piece of who I was, was leaving. Over the years things changed, and we lost the top dogs slowly along the way - many of them being a part of TDC for over 7 years or more. Each one was sad because the TDC that I knew and loved was them. It is comparable to moving on and separating from your childhood friends because you watched each other grow up; nobody knows you like they do. Now in this moment, it is hard to realize that I am where they used to stand. Olivia is now the senior member, along with Shannon and I a year thereafter. We have had great loss and I have come to accept that people come into our lives for a reason and people live their lives according to their own plans. Things cannot stay the same forever and I cherish those years. (I also miss former apprentice, Molly Kirkpatrick, as she ventures off to grad school this fall.) And again, with great loss comes great gain. We have had members come and go and the TDC of today is full of strong women who I admire just the same. Madelyn Doyle and Julie Boruff now have a few years under their belt as well, and not to mention, are two of my closest friends.

I feel so overwhelmed writing this because of my experience with these energetic influences. We put our hearts, emotions and tears on that dance floor – hours upon end until we were exhausted and beat but we always made it through because we had each other.

Margi ultimately makes the final decision when it comes to roll call. Not one rehearsal goes by that I do not think about how she has never given up on me. She takes chances and risks on people. And not only does she worry about strong performance qualities and technique, but how about dedication and passion? And from a dancer’s standpoint, getting into a dance company in Chicago is slim to none. What makes you more exciting to watch out of thirty-five people? Trust me, back at the time of my audition, my technique was nowhere near stellar, but I was excited and confident and inventive in my movement generation. Six years later (besides feeling what we call the “A-G-E”), I feel grounded and strong and wise. My technique has improved and I make even smarter choices when creating material. I also could not have been able to choreograph my own piece on such a refined level without Margi, and I am very proud of that personal accomplishment.  We go through so much in our lives and never once has she not supported or believed in me. This process that we go through, we may struggle, we may tire, we may scrap hours of hard work, but this process is raw and beautiful and intelligent and great.

When you begin something, sometimes you do not know how it will end, even if you have an end in mind. I never wanted the group to change when I was in the moment, but as it was and had happened, it was great to see how the group has evolved and shifted. It is also great now to see some new bodies in the space, Jamie Corliss and Liz Conway.

I am grateful for my chance at this opportunity and as I do not know where I will stand at the end of this path, I am savoring my journey. My experience with these unique individuals has made me a stronger dancer, better performer and a more plentiful human being.  I am infinitely grateful to be surrounded by a great group of people in my dance community and genuine friends I can depend on. Through it all, now being one of the leaders of the group, I just hope I can provide the girls with what the top dogs once permitted to me. 






Submitted by TDC Dancer Katie Petrunich, Tuesday, October 14, 2014.

Collaborating as an Artist vs. Collaborating to build a Home

Julie Boruff on her Bike and Build trip

Collaboration by definition is working with another person or group to achieve a common goal. Before I became a dancer, I was highly involved in team sports and obviously the goal is to win. To win a few things must be acquired by all participants, such as communication, dedication and perseverance. These three things can relate off of the field and on to different aspects of group focus. Collaborating as an artist to create a work has many similarities and few differences as collaborating on a construction site.

So what’s so similar? For one, there is a leader. In my experience as a dancer there has always been someone to lead the project. On a construction site there is the Site Supervisor who demonstrates, teaches and corrects the workers to keep them on the right track. In both situations the group whether dancers or workers are given tasks to perform. If there is a problem or a misunderstanding communicating those problems with your “teammates” and leader are necessary for the project to move forward. Secondly, in both situations all members must be dedicated to the work. Sure everyone has off days but a work can’t get completed or a house won’t be built if people slack off. In both areas depending on the project some days you work independently and other days you work with everyone. Either way commitment to the overall product is essential. Furthermore, to accomplish a goal perseverance is essential particularly in setbacks. A few set backs on a construction site could be the weather; sometimes there’s not enough work for everyone or you simply may not be good at hammering. Everyone has a different set of skills but toughing it out shows true commitment to the overall goal. With creating a work a set back may be an ailment in the body, not enough time, or simply not fully understanding the concept. Either way, persevering through problem spots is a necessity in both types of group collaboration.

The main difference between working as a dancer and working on a construction site is how the product is assembled. A choreographer can start out with an overall concept of what they want a work to represent but, may have a different outcome as rehearsals progress and new ideas are formed. When you are building a house it has to be planned completely. In the end the house has to be built exactly as the blue prints whereas a dance can form into something completely different than the original idea. However the thing that is important between both is that they cannot be completed single handedly. Collaboration is a universal tool that aids in a successful outcome whether that is a winning the game, building a house or creating a new dance work.

Submitted by TDC apprentice Julie Boruff on Saturday, May 3, 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. 

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

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. 

Words From the Dancers on Performing at The Pritzker

In 2010 I interned with The American Dance Festival in Durham, North Carolina. My
 job was to assist in documenting the different dance companies and speakers that
came to the festival. I had the opportunity to meet Artistic Directors Monica Bill Barnes
and Martha Clarke; assist in filming Pilobolus, RUBBERBANDance Group, and Paul
Taylor, among others. From my experience during the internship, I learned that every person has a role, both on stage and off. At the time, I did not know where I wanted my focus to be. However, after seeing a variety of companies perform on small stages to large theaters, by the end of the festival I knew that I wanted to perform. When I got back to Chicago, The Chicago Dance Festival was taking place on The Pritzker Stage in Millennium Park. I had just witnessed amazing dance in North Carolina and returned to amazing dance in Chicago. It was towards the end of the summer, I was sitting on the great lawn and the Joffrey Ballet was performing. Suddenly, questions started plaguing me: "Who picks what the viewer sees? What does it mean to dance here verses there? How does it feel to perform in this space over a different space?" I asked these questions to a few of my fellow TDC dancers as we took to the Pritzker Stage this past weekend for FlySpace. 

Photo by William Frederking

"I was in college at the time and had only performed on The Dance Center stage and a few small venues around the city. Having this opportunity this past weekend to perform on the same stage that critically acclaimed musicians, dance companies and other forms of art/entertainment have touched is inspiring and intimidating. The Pritzker Stage is a beautiful space and I am excited that the viewer not only gets to see the work up close but also gets to experience being a part of the space. During most shows, the viewer is on the outside, often far away. For the FlySpace programs, audience members have the opportunity to see the tiny details, view the city's southern skyline, take in the woodwork, hear the dancers breathe, and feel the energy of the works and the space."~Julie Boruff

"Performing on the Pritzker Stage is an experience like no other. There are so many
unique aspects of the space that make every gesture feel monumental. Seats on the
stage and in the loft force intimacy with the audience, yet at the same time the vast
backdrop of the pavilion creates a landscape and a tremendous sense of depth
behind the work. You are aware of the inside and outside at the same time, which
offers a very different experience, both as a performer and an audience member,
than that of a dark, enclosed black box theater. I am truly excited to have the
opportunity to dance on this stage, and I am proud to participate in this important,
initial undertaking of the FlySpace strategic partnership."~Maggie Koller


"FlySpace provides a broad platform for Chicago artists, further extending an
additional outlet to our community. Combining our voices and enhancing our
audience’s awareness will hopefully generate a wider interest in our individual
crafts. This is a great opportunity geared towards seeing the modern dance scene
boom. I’m glad that TDC is apart of this involvement. I’ve watched multiple acclaimed dance companies prance across the Pritzker Stage over the past 5 years and I always imagined how amazing it would be to do the same. I never thought I’d get the opportunity, ever. I can’t even fathom how alluring the theater is and how truly amazing the ability to step onto the stage, let alone dance my heart out. I’m honored to perform in such a beautiful space and to be sharing the structure with another dance company who idolizes it just the same. I keep taking everything in, making sure I see something new every time I perform –especially looking out the windows and beyond the buildings. Excited!"~Katie Petrunich


"Performing on the Pritzker Stage feels like such a privilege. The space is
unbelievably beautiful. The high ceilings, vast, open space with a large glass wall
overlooking the city is unlike any other space I have ever performed in. Although the
space seems large, using it as a dance venue turns it into a very intimate space. The
audience sits on the same level as the dancers as if they are part of the performance
themselves. After a certain time at night, you begin to see reflections of the dancers
in the glass, as well as shadows dancing around the entire space, adding layers to
the performance. It is a really exciting experience to have the honor to dance in this 
space!"~Molly Kirkpatrick

Submitted by TDC Apprentice Julie Boruff on Tuesday, April 16, 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.