Turning 21 means changes for The Dance COLEctive

March 8, 2017

Photo By Eric Olson

Dear Friends:

Today, our 21st birthday, I want to share some news with you. Turning 21 is a pivotal transition, a rite of passage. Ultimately, it means you are getting older and expected to be more independent, enabling you to make informed decisions and forge ahead.

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 over time has become more difficult to sustain.  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 that it is my responsibility, as a practitioner and mentor, to not only share these ideas but to be an example of change.

With that in mind, The Dance COLEctive is transitioning to a new model. After 20 years of company leadership, I want to be more accountable to my own creative process and ensuing collaborations than I have been able to be in the past. In pursuit of this objective I have decided to no longer maintain and work with a company of dancers on a continuous basis but will “pick-up” dancers as I need them for specific projects. While this is not a new idea, it is a new way to work for me and for TDC.

I am turning my attention to a deeper investigation of solo and duet work, largely through collaboration with peer artists.  This focus will guide my activity for the next two years. Collaborating on a smaller scale is not new for me.  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.

Photo by Lisa DeShantz-Cook

The decision to transition has come after intensive soul searching, rigorous analysis, and careful planning. Those who have supported and believed in TDC’s work over the years - former dancers, funders, board members and my peers in Chicago’s dance community - have inspired this change. Through a process of intentional inquiry, you all have helped me better understand what TDC is, how it is perceived, and what makes it unique. Your generous and honest input has helped me reimagine a new future for my work and the work of TDC.

To be clear, the organization is not folding and I am not quitting.  TDC is evolving into a new model will enable me to expand my work in several different ways:

1. Developing a solo focused initiative: creating, commissioning and highlighting solo work
2. Creating new works to perform under the TDC banner, with other companies or in collaboration with other artists
3.  Increasing national and international teaching and creative residencies

This change will help me realize my desire not only to sustain but to nourish myself as a thinker, mover, creator and performer. 

I continue to be grateful for all of the collaborators, mentors, funders, board members (past and present), individual donors, and my peers, who have helped the company thrive for 20 years.  In particular, I want to thank the many dancers who have worked with me.   Because of you, I have had the great privilege to experiment, learn, fail, be inspired, create and grow into a mentor, teacher and choreographer.  I am very proud of all the work we have done together, and I could not have done any of it without you!

You can read more about this change, the new mission, the website and the project announcement here. Stay tuned for updates and opportunities as our 21st year begins! Looking forward to what is to come.

With gratitude,

Margi

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.

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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.

“..how the hell did this happen?”

Well here we are, nearing the end of The Dance COLEctiveʼs 17th season and Iʼm looking back at the past two years thinking “..how the hell did this happen?” I remember showing up to my first Modern 1 class at Columbia College Chicago oh so many years ago, a bit apprehensive about this new teacher talking about the wonder twins, little green men, and corn. But, I stuck with it. After semesters of thinking that I would never make it to a professional dance company, especially Margi Coleʼs (or really wondering if I even wanted to perform), I found myself unable to stay away from her, her classes, the companyʼs performances, and its dancers. There was something about it that I respected so much.

I knew from the minute I left high school that I wanted to pursue my teaching certificate in Dance and that it would require time and effort. So, during the frequent 3 hour commute to and from Milwaukee, I realized that teaching wasnʼt the only part of dance that I wanted for myself. I needed something in my life that I didnʼt have to control all the time, something that fulfilled the creative side of me but something that also allowed me the chance to share my life with others (a collective perhaps (I know, super cheesetastic)) closer to my age. At the time, the only people I had the opportunity to share with were the ones who wanted to know my favorite color, if I had a mom and lived in a house, and that they just got a brand new outfit and hairdo that I NEEDED to know about. After attending my umpteenth Dance COLEctive performance, I checked the program and committed myself to the audition 7 months away. I attended the summer workshop and was surprised with how many of the dancers I knew, or who actually remembered me from coming to company class. Being there, dancing with these girls was just so comfortable. I appreciated that and understood that this wasnʼt just a dance company, it was a family that had been thoughtfully formed through the direction of a woman who took the time to research her dancerʼs values and goals. I wanted it. I respected it, and knew that this was the “something else.”

Photo by Mike Doyle

 













And now here I sit, explaining all of this to you but reflecting to myself about how it all came to be. Something I didnʼt fully understand until now. I am nearing the end of my second year with the company after starting as an apprentice and couldnʼt be more grateful for the opportunities provided to me. Itʼs been made clear that nothing is accomplished without full commitment, and that if you want something enough you must work your way towards it through as many paths as you can find. The Dance COLEctive, in my eyes, is an established, respected, and carefully constructed crew of beautiful dancers I can proudly say I am a part of, and if you have the chance or interest, I highly recommend inquiring about it.

 Submitted by TDC Dancer Madelyn Doyle on Tuesday, May 9, 2013.

Trust The Process

 

Every choreographer has her own creative process. The variety of approaches fascinates me. I have worked with choreographers who come into the rehearsal space with a definite plan, with diagrams and extensive notes, and with choreographers who like to come into the space with only a feeling and see where that takes them. The Dance COLEctive’s Margi Cole is somewhere in between.  She always has a plan, whether she makes it known to the dancers or not, and she allows that plan to evolve and unfold in an organic way. Margi’s process often involves writing assignments, word lists for movement invention, and lots of rubbing material together, stripping it down and then piecing it back together again. 

Currently in rehearsal, we are reconstructing a piece the company did last year. We are creating some new material as well as relearning -- or in my case as a new member, learning --  old material. This is a new layer to the process for me, having never worked with a company that has a repertory of work to pull from. 

As a newbie, I’m relying heavily on the veteran dancers who know the material, and they are very helpful. They remember the material quickly and are able to help teach sections of the work that Margi wants to salvage from the original piece.  

We’re also using video to learn the piece. What a challenge! I get all turned around directionally when taking the movement from video and transferring it into the space. Which way are things facing? Which foot is doing what? Where are they in space?

Having been a dancer all my life, mimicking movement is like second nature. All this would come so naturally to me that I wouldn’t even think about it. But video is different: I have to keep rewinding the tape over and over and watching and re-watching even the most simple movements. And subtle things like where a movement initiated from remain a mystery.  

Just like learning movement from a dancer is a learned skill, so is learning from video. I have to keep reminding myself of that instead of putting myself down by thinking, “This shouldn’t be so hard!  What is wrong with me?!”. I need to put the movement perfectionist in me to rest.

It’s also important for me to remember that although we are re-staging an existing work, the work we are creating is new. There is a new cast of dancers, new stories and experiences influencing the work, and the finished product will be different.   I’m working on trusting the process, and on trusting myself. 

Submitted by TDC Apprentice Molly Kirkpatrick on Thursday, February 21, 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.

I may have lost a hen yesterday but I have eggs for tomorrow.

Post Show Blues....

Post performance week for me is generally a challenge...  I am wrought with pride over the work the company has done and inspired to try again.  Relieved it is over and just plain worn out.  (This time I landed a pretty good cold that had me down till Friday.)  I am already making lists about clean up and next steps.  Sending thank yous, washing and putting away costumes, re-stowing gadgets, glow tapes, first aid kits and sewing props. 

Ultimately, I am looking at box office receipts and ticket numbers and asking myself, "What do I need to do in order to get more butts in the seats?".

TDC was particularly well received this time.  We had 4 outstanding reviews and some lovely previews.  Our loyal followers and family came to support us in our new venue!  The feedback was positive and real!  The word was out and the weather was not 40 below.... So, what gives?  Was it because of President's Day weekend, because school was not in session?  Location?  People are just plain not interested?  I find myself constantly trying to figure out the formula for full houses and sadly it just does not compute.  This is the kind of stuff that keeps me up at night....  Not only is it disappointing for me as an artistic director and administrator it is disappointing for the dancers, and that makes me unsettled.

But, as a friend said, "Do not dwell.  Use this as a learning experience and move on."  Trouble is, I am just not sure what I have learned from it yet.   Sometimes I think there has just got to be a better way to do all this but I am just not sure what it is. Until I figure that out I am just going to continue to put my best foot forward, no pun intended.  I know I continue to do this for all the right reasons.  I am passionate about it, this is what I love and I have a group of dancers, board members and friends who are dedicated to my vision.  The pay off is big!  It is not financial, but it is more than worth it!

This is the nature of the beast!

Now!  On to our next performances on the Jay Pritzker Pavilion Stage in April, the launch of FlySpace, the Wellness Jam and the musings of our next Social Media Diva! 

Submitted by TDC Artistic Director Margi Cole on Wednesday, January 27, 2013.

Cryptic thoughts from an Artistic Director nearly in production week

Have you ever wondered what goes through the mind of an Artistic Director as they approach show week?  Well, here is a little insight.


I need more time! (Rinse and Repeat about 1,000 times)

Why did I think it was a good idea to choreograph and perform and say text live...

Must create next social media blast.

Creating the program is the bane of my existence.

This goes in the Monday pile.  This goes in the Tuesday pile...  and so on.

Oh yes, I must remember to thank them too!

Choreographer trunk. Everything you need for a rehearsal and more.

I must remember to do THAT and that and...

Thank goodness for these dancers and collaborators.  I could not do this without them.

A glass of wine later is gonna be really nice!  Really nice!

Just add it to the list...

Why didn't I get more feedback?

I wonder how pre-sales are going?

Emergency cliff bar.  Check!

What am I forgetting? 

Is anyone going to come to the show?

But seriously, even after nearly 17 years of making and producing dance with my company, the fear of being under prepared, the self doubt about my engagement with the work, the need to give myself a personal pep talk in all areas, is all still very real!  These are the same feelings I had in the first season of the company.  And while I may feel all of these things, I do know that my experiences have enabled me to be a better collaborator and leader.   I am better at gathering the right people around me to ensure integrity and success, even if I personally am still worried about whether I am a viable performer, creator and leader.

I will keep you posted on how things are going next week!  Stay tuned...

Submitted by TDC Artistic Director Margi Cole on Wednesday, January 9, 2013.

Performing to Perform

Since declaring that I would be studying dance in college when I was just barely into my Senior year of high school, I have met the question " So what will you do with a degree in dance?" more times than I care to count. I understand where the question comes from, sort of. Everyone's first thought goes toward teaching," So will you be a teacher…?" or to owning a dance studio, then they think of performing. However, I have ALWAYS wanted to be a performer, and frankly I try to find ways I can perform everyday of my life. I was born a Ham (aka a limelight lover) and will probably be living the old adage " the world is your stage" until the day that I die. I live for a good crowd, mostly a good laugh from a willing audience and don't usually find myself in social situations where I don't make my presence known. So for me, there was never a second thought as to what I would do with a BFA in Dance.

I was going to perform. I was set on it.

All the doors and windows of opportunity were open to me, and I was going to walk across that stage at graduation, promptly get my diploma, and walk my happy behind right onto the stage of dance and perform. I didn't have a timetable for how long I would be a performer but sure as the day was long, I was NOT going back to school anytime soon, and I was not waiting around saving my money while working a non-dance job until I found the performance job I wanted.

After graduation, I was on a  sort of dance tour of my own, taking my blind optimism and endless energy for rejection up and down the east coast and some of the midwest trying to find a place to perform. I soon realized that while I REALLY wanted to perform, there were a lot of dance companies that REALLY didn't want to hurt my feelings but at the same time REALLY didn't want me to perform with them. By an act of fate, I landed in Chicago before my optimism and energy for rejection ran out with two suitcases and a smile, and set up shop with The Dance COLEctive. What I then realized was that I had only just begun my quest to perform on stage.

I was in a new city with zero friends, no place to live and no job. Suddenly the idea of performing took a back seat to my survival and the goal of living somewhere other than a street corner in a cardboard box. My personal worst fear in life is to be homeless.

What I came to understand is the doors and windows of opportunity are only open as long as you force your body weight through them, stick fingers and toes into the cracks and wedge the space apart to make room for yourself and thus make opportunities for yourself. I looked into every job I thought I might be able to do:  coach swimming, teach English,  serve food, paint fences. If it was a job and I could imagine myself doing it then I applied, I called, I stopped by the office to drop off my resume. If I was hired, I took it. It didn't matter how far away it was or how few hours a week it offered, I was going to do it. Then, on Tuesday and Thursday nights, I was going to go to rehearsal with TDC and work on my performance opportunity.

Well, as it turns out, wanting to perform became more of a need to perform, because with a BFA in Dance, I have finally found my way through enough jobs to land my ideal job: teaching dance. In a small dance studio with a captive audience of seven year olds, I use my flare for performance to make them laugh and teach them to pivot and kick-ball-change and to love dance and performing just as much as I do. I think I may have tricked myself into teaching because the front of a classroom (no matter what type of class) is a sort of stage. So naturally, I feel at home. But I need to be good at my job so I can afford to keep myself afloat, and thus be able to perform with The Dance COLEctive. So here I am, 5 years out of college with my old rosy view of being a Dance Performer, and I. am. performing. on stage with the Dance COLEctive in as many chances as I can force myself into…. But I also get to perform everyday in my job as Miss Olivia, the quirky dance teacher who loves any stage and a willing audience.

Submitted by TDC Dancer Olivia May on Tuesday, November 13, 2012.

Sidelined

So here we are.  After 7 years of dancing with TDC, the 4 years prior spent dancing in college, and the 14 years prior spent dancing in Greenwood, Indiana, it’s pretty self-evident that life has taken some serious turns, some of them unexpected but all of them fulfilling.

And now life has given me another unexpected turn and I find myself in yet another unfamiliar phase in my long-term relationship with dance: on the sidelines. Still at rehearsal, but not necessarily in rehearsal, witnessing the creative process instead of participating in it. It’s a fascinating and disconcerting position to be in. While watching my fellow dancers work, even now, only a month removed from creating material myself, I get lost in what they are doing and creating, watching them work as I would watch a dance concert, with enjoyment and a complete lack of understanding of how hard each dancer is working. Watching the process I was just recently a part of, it is remarkably startling how immediately lost that sense of work, frustration, and struggle is.

This year’s new work offers particular challenges in the way Margi has gone about structuring the creative process – structuring it as such that there is no structure as to what a dancer can do, but only addressing what they CANNOT.  Rather than having a list of qualities, actions, moments, to include, dancers only have a list of what they cannot do – navigating the movement invention period with each other through individual “blind spots” if you will. Again, fascinating to watch, particularly the movement, duets, and group phrases that have been created, but upon flopping down on the floor at 10pm, I see complete exhaustion on the dancers’ faces. Not just physical exhaustion, but mental – mentally drained and spent.

Regardless of how awkward and tense the dancers say they feel in these awkward and tense relationships they are creating, they are delving into areas of self and creativity that I have not yet been witness to in my time in TDC. In my observation, it’s not without some twinges of jealousy that I am not a part of this process with them, but then again, I would also be missing the bigger picture of creativity, instead, stuck in my own frustration and exhaustion at the process.

Which is better? Jury’s still out. I never anticipated myself just sitting on the sidelines in my dance career, but I must say throughout my life, it is those situations I least anticipated that I learned the most. 

Submitted by TDC Dancer Kaitlin Bishop on Monday, November 5, 2012. 

TDC starts work on restaging 13

It’s official. I have now been in TDC long enough to be reconstructing a piece in which I was an originating dancer. YOWZERS!

This week, TDC starts work on restaging “13,” a 30-minute piece created and premiered four years ago during TDC’s 13^th season. It’s an interesting experience, to go back in time, watch work I created in a previous life, and try to understand the decisions made and inspirations used. It makes me reflect on the passage of time, and how, while four years may not seem like too long ago, it was actually a lifetime ago. I lived in a different home, I was not married, I had a different job, I moved differently, I lived differently. I was different. To watch myself dance from so long ago, I might as well be watching a total stranger. Fascinating!

Another difficult aspect of reconstructing work I had a hand in creating vs. reconstructing work I did NOT create is readjusting expectations of the experience. It can be very easy, when resetting previous work, to expect things to feel the same – lifts should feel the same, contact with other dancers should be the same, the timing should be the same, EVERYTHING SHOULD BE THE SAME!!!!

100% of the time however, it’s not. It’s impossible. For “13,” there are two returning original dancers. There is literally no way this piece will even remotely resemble its original version, as the dancers inhabiting the space are completely different people. Different bodies, different minds, different perceptions. Everything, and I mean, EVERYTHING IS DIFFERENT. Which is really hard. It can be so difficult to let go of those experiences, those sensations, those journeys. When a dancer feels a sense of ownership over the material of a work, it can be such a frustrating experience to let that go – but that is what we have to do. Otherwise, reconstructing work is the equivalent of pulling teeth. It sucks. 

So here we are. Starting a new journey I’ve travelled before. What keeps this fresh though is the fact that I am a new person, and this time around, this journey will resonate within me in completely new ways, leading to new movement invention, new partnerships, and new experiences.  This, in and of itself, is just one more of the many things that makes modern dance so engrossing and engaging, performance after performance, piece after piece, year after year. Even old work feels new, and old experiences become new journeys. 

Submitted by TDC Dancer Kaitlin Bishop on Wednesday, October 31, 2012.

“It was great! But what did it mean? “

When it comes to a modern dance performance, whether it’s my own, a friend’s, a national or international company, 75% of the time, the above statement and question can be overheard in the lobby, usually said by one of my family members, but not always. Admittedly, sometimes those words escape my mouth. 

With my dance background and history in mind, a modern dance company in downtown Chicago is a bit of a far cry from where I started. Having grown up dancing in one of central Indiana’s primary studios, ballet, jazz, tap, and other such things were my specialties to the extent that I rarely actually thought about what I was doing, I could just do it. “Modern” dance was something in which people danced barefoot and flexed their feet a lot, which is another way of saying I knew absolutely NOTHING about modern dance. In high school, I knew my future lay in the dance field, not really knowing what or where that meant, but with dreams of LA or New York in my head, my parents were steadfast in their resolve: Kaitlin can do whatever she wants…..as long as she goes to college. Which led me to the Dance Center of Columbia College Chicago and four years of classes, rehearsals, performances, lectures, master classes and then some, attempting to grasp that ever elusive answer to the all pervasive question, “What does it mean?” After four years and a degree in Dance, more often than not, I was still that person in the lobby after the performance thinking to myself, “It was great. But what did it mean?”

Immediately after graduating, I was blessed to have the opportunity to audition for The Dance COLEctive, which I’d seen perform only once, but had participated in a number of student works wherein Margi Cole was the Faculty Advisor. I found her feedback and guidance in those times as challenging but engaging, requiring me to think critically, which was definitely something new for me. I was interested because I was scared and I knew I would be directly responsible for the work I would create, rather than learning someone else’s ideas. If there’s something to be said for only learning the choreography that comes from someone else’s body, even the most intricate and satisfying of movements, it grows to be boring. It becomes boring because it’s not my idea that inspires it, it’s not my choice that dictates it, and it’s not my mind that analyzes and molds it.

That’s the beautiful thing about modern dance and The Dance COLEctive. I get to make choices that are reflective of me. I’m IN the work. Not just performing it. Rather than counting off 5,6,7,8 and doing a series of steps in perfect unison with 10 other dancers, audiences are able to watch 10 people on stage, existing, in space. Making choices, interacting with each other, LIVING. That’s pretty cool, if you ask me. And it’s what keeps me coming back, year after year, watching and being a part of modern dance. My experiences in The Dance COLEctive continue to influence my values in dance, both as a dancer and an audience member, to the point that as time continues, I find myself, after performances, asking “What did it mean to me?”

Which is kind of the whole point of modern dance to begin with, I’m starting to realize. 

Submitted by TDC Dancer Kaitlin Bishop on Sunday, October 21, 2012.

The Creative Process – A Glimpse of How it Starts

There’s something so magical about starting a new work. It’s refreshing to begin a process not knowing where it will end up. The movement developed is interesting but also flat in the sense that it has yet to be shaped and pulled to suit a larger intention. Interactions are clear but not yet defined. The meaning of each touch will become embodied through time, with repetition, and after it has been examined through the lens of intention for the overall piece.

In TDC, most of Margi’s new works begin with some sort of reading, research, writing assignment, or discussion. It’s always very self-reflective and thought provoking, which increases the level of investment us dancers have in the work. The way Margi uses our input changes for each project. Sometimes her homework assignments drive every element of the piece, from the way we develop movement and relationships, through the arching story of the piece, and even to the text we speak. Other times, its influence is only peripheral, driving certain elements, such as time and relationships, rather than the actual ideas being brought to life on stage.

Though Margi usually keeps her ideas secret until she has them fully formulated in her head, in a casual conversation I got a glimpse of what’s to come. Without revealing the plan, I’ll just say that she hopes to use information gathered from a popular book many of the dancers have read and use it to set boundaries that define our relationships as we generate movement. I think it will be a fascinating translation from fiction to dance and I am really looking forward to seeing how it all turns out.

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Submitted by TDC Dancer Maggie Koller on Sunday, October 7, 2012.

There’s Always Room to Grow!

What never ceases to amaze me about dance is that there is always more to learn.

I have been dancing since I was 3 years old. Though I think we can all agree that a tiny child in a tutu with her butt hanging out isn’t really committed to dance, I’d say from age 7 or 8, my training has been pretty rigorous. To calculate the number of hours I have dedicated to practice in the studio would be too much to handle. The point is, after 25 years of daily practice in my body, I am still amazed by how much more there is to discover. Or more specifically, by how many muscles, bones, and flows of energy I have yet to master or fully connect.

Something I have always struggled with is the placement of my rib cage on my spine. I have a tendency to splay my ribs open in the front rather than connecting them down to my center. There have been many times over the years when I have made a major connection and (seemingly) course corrected this tendency toward imbalance. However, day one back in the studio this season and I am getting corrections from Margi about softening my sternum. Really? Yes. Still something that requires focus.

All the boo-hooing aside, I think I might have figured something out! Imagine my arms in fifth position above my head. By shifting my arms forward more toward my brow line rather than being directly above my head, the entire position of my chest shifts downward. Really, Maggie? Duh. But it has taken me all this time to realize that it is ok to move my arms out of this above-the-head zone where I perceived a need for my arms to be to achieve classical ballet accuracy and into a space where I can be connected through the vertical center of my skeleton.

And by shifting my arms forward, I’m actually experiencing a new sensation at the bottom of my rib cage. This may not be the most inspiring example, and I would never use this when teaching, but I am feeling as if a limbo bar is pressing across the bottom of my ribs. That’s the image I get when I feel connected. It’s an activation of the muscles and a connectedness in my bones.

Just a little something I’m working on these days in class. Now, to be able to achieve that alignment and maintain that awareness while moving through all the planes, balancing on one leg, upside down, through the air, leg above ninety degrees, while my spine snakes…oh, dance. Never a dull moment.

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Submitted by TDC Dancer Maggie Koller on Sunday, September 30, 2012

A Journey to The Dance COLEctive by Maggie Koller

This is my seventh season with The Dance COLEctive (TDC). W-o-w. That means for the last 6, going on 7 years, I have spent almost every single Tuesday and Thursday night, and every other Sunday morning, rehearsing at the Drucker Center. I have performed in multiple dance venues, parks, stairwells, and other site-specific locations in and around Chicago. I have toured, done residencies, taught, performed and improvised across the Midwest and Southern United States. I have devoted my time and energy to the activities both in and out of the studio that support the mission of TDC. And in return, I have learned, sweat, laughed, cried, and grown tremendously with an absolutely amazing group of women.

For me, this journey began at Beloit College, my alma mater. TDC came to do a residency sometime during my senior year. I took class and rehearsed with Margi for a week that culminated in a performance by her company and a work she set on the Beloit dancers. The TDC women were all strong, as were the works on the program. I was very intrigued by Margi’s exploration of relationships and use of partnering. I also remember seeing the dancers warming up in the dressing room and wondering how they were able to do so many push ups…now I know.

At the end of the performance, each dancer was given a personal thank you note from Margi. Mine ended with something along the lines of “When you’re back in Chicago, don’t hesitate to look us up.” A few weeks after graduation from Beloit, I ran into Liz Carlton (a now retired TDC dancer) at Lou Conte. She said, “We’ve been looking for you!” and asked me to come to an invite-only audition for the company. Feeling equally nervous and confident, I reached out to Margi and accepted her invitation to audition.

After completing a pretty grueling set of essay questions about my perception of women in dance and women in the media, technique class, and several chunks of difficult company repertory with an intense level of partnering, Kaitlin Bishop, Jessica Post, and I were asked to join the company as apprentices. The beautiful thing about Margi’s apprentice program is that performance opportunities are no different for apprentices than they are for full company members—the only difference is that you don’t get paid. So, I danced my pretty little head off that first season as an apprentice, and have been given an equally beneficial opportunity to perform with the company as a full member ever since.

Through the handfuls of other companies and independent choreographers I have danced for, TDC has remained the backbone of my professional dance career. I continue to learn so much from Margi. She is an excellent teacher, an amazing performer, an extremely intelligent businesswoman, and has grown to become a great friend. I am so appreciative of the level of detail and professionalism she brings to the organization. I always feel that my time is valued and well spent, and that is very important to me. The dancers she cultivates tend to grow not only as a palette of bodies that gel together on stage, but a group of women who have become incredibly close both in and outside the studio.

Season seventeen for the company. Season seven for me. I still can’t believe how much time has passed. And I have no doubt this will be another amazing year.

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Submitted by TDC Dancer Maggie Koller on Monday, September 24, 2012.

Hello and Welcome!

Hello and Welcome to the very first official blog post of The Dance
COLEctive!

A new season with TDC brings new work, new dancers, and new ideas, one of
which is this, the official TDC Blog. With the vision and hope of offering
our dedicated and invested audience an in-depth look at the  the inner
workings of The Dance COLEctive, its Director, dancers, and affiliates,
this blog will serve as not only my voice, but that of my dancers as well.
The Dance COLEctive has always been just that, a collection of ideas,
minds, bodies, souls and energy, coming together to create something new
and vibrant, of which no single person can claim sole ownership. Under my
leadership the work TDC has created and presented, both on the stage and
off, has never been a representation of my own thoughts, feelings, and
vision. No. The work of TDC has been that of US. The dancers, the
collaborators, the audience, the teachers, and yes, with a little
guidance, from me.

The same can been said for the inspiration behind this blog. This view of
TDC represents not only my thoughts, history, ideas, and words, but those
of TDC's greatest asset: the dancers. Each dancer will take the
opportunity to contribute to this blog, offering you a glimpse of who they
are as people and dancers, their journeys to and in TDC, and the place
they feel they inhabit in the space of this COLEctive.
You will hear from me directly from time to time but to kick things off
for us, I bring you Maggie Koller, a dancer coming into her 7th season
with TDC.

Maggie's post is coming soon.........