Alumni Spotlight on Laurel Moore Zahrobsky

 

Laurel Moore Zahrobsky

Director of Terpsichord, Dance Teacher/Girls Preparatory School Chattanooga, TN

What years did you work with The Dance COLEctive? 

 

1995-2000 (I think. Or maybe 2001?) We met when I was part of the Columbia College Summer Dance Intensive. She selected me for her piece. After that, I was contracted per show before she formally began The Dance COLEctive. When she started the company, I was a founding member.

 

Laurel with Julie Tice Photo by William Frederking

 

 

Any favorite TDC Memories? 

Loads of fun memories Rehearsals that felt like they lasted 15 minutes because we were having so much fun, road trips for performances, cocktail hours in our down time, birthday parties, and life changing moments we all got through together just to name a few. I loved partnering with Margi. When we danced together it was like dancing with an extension of myself.

On-Stage or Site-Specific Performance? 

 

There were so many performance opportunities that Margi provided us. Some of my favorites were the site-specific ones. She bought pallets of grass for a street performance we did on the south side. That was a very surreal performance for me because it was tied into the history of the houses where we were dancing. I love that kind of stuff! Mixing art and history and bringing it to a present day audience. So exhilarating! We also had a blast performing at the Illinois State Fair. It was hilarious to dance in front of crowds who had no idea what modern dance was. The tractor pull line was my favorite. And then there were people who loved it when we danced in the art gallery at the fair. That was really neat. We wore matching shirts, red bikers and tennis shoes. It was a ton of fun. 

 

At the Illinois State Fair dancing everywhere that was not a stage.

 

For about three years in a row, we spent New Year's Eve in Springfield as part of their First Night performance. It was a lot of fun performing and then ringing in the New Year with the company. Lots of laughs during those evenings!

 

We performed everywhere from the Athenaeum to Columbia College to the MCA and every time we finished, she would have already started working on another show. Margi always worked really hard to make sure we could share her work and be seen in every venue possible.

Trembling in the Balance at the Athenaeum Theater with Amy, Ebony, Margi and Edna 1999

 

What are you doing now? 

 

I am the Director of a dance program at Girls Preparatory School in Chattanooga, TN. Even though we are not a performing arts school, dance is a huge part of the curriculum for students. Our high school company is one of the longest-running in the nation. It began in 1960. I am only the third director in the school's dance program.

Where can we find more information about you? 

 

There are some articles written about me through GPS but I don't have a website or anything like that. You can check out my school profile here.

Do you use any Margi-ism’s?

 

Rock star parking is still one of my favorites to say. And I also use spackle (makeup). I'm sure I use more but they are so engrained in my vocabulary I don't even notice anymore. However, no one says a Margi-ism like Margi!

 

Memory from Margi 

 

I met Laurel in 1995 when I did a mentoring project in the summer program at the Dance Center of Columbia College Chicago. We just seemed to hit it off. I remember being struck by her fearless physicality and her sense of humor! She was always willing to make bold choices and have fun. We also had the south in common. Laurel and her family have been loving and gracious hosts to me and the company. When Laurel had the chance to move back to Chattanooga and teach I was truly sad to see her go. I also knew that it was the best thing for her and her growing family.  AND, I knew that she was going to do an amazing job! Lucky for me, she has remained a dear and valued friend. I am so proud of the work that she does at GPS and one of my proudest moments was seeing her receive the Tennessee Association of Dance Outstanding Dance Educator Award in 2014. Dang, I am getting misty... Thank you for helping to lay the groundwork for future dancers to be fearless and make bold choices!

 

Me and Laurel Summer 2021

Alumni Spotlight on Edna Radnik Madonia

 

Edna Radnik Madonia

Dancer, Personal Trainer, Group Exercise Instructor, Barre Instructor 

 

 

What years did you work with The Dance COLEctive?   

Founding Member from 1996 to 2003 (I think...)

Any favorite TDC Memories?

First Night in Springfield for the New Year.  Was great to travel, perform and ring in the New Year with friends. Of course it was cold and snowy.  I was driving an old Jeep Wrangler at that time and had heat blasting. It was still so cold that Ebony and I had to put blankets on the entire drive home.

First Night Springfield with Laurel, Ebony, Margi, Lisa, Edna and Nancy

 

On Stage or Site-Specific Performance?

Glessner House, outside on the grass! It was a beautiful night, string musicians and we closed the street off and danced on sod. The clean up was hilarious as we never realized how heavy sod was until we had to load it on a truck.

Edna in the grass piece 9/9/99

 

What are you doing now?

Edna!  Looking Good! 

 

 

I am currently a fitness instructor and have been teaching for over 25 years!  After leaving the Center for Community Arts Partnerships at Columbia College Chicago (CCAP-which Margi helped found in 1998) in 2013, I devoted my time to The Dailey Method (TDM) and became a master barre instructor before the studio closed. I was training clients and teaching group classes at a medically integrated facility before being recruited 8 years ago to Life Time Fitness in Burr Ridge.

You can follow Edna on Instagram @fitedna

 Do you use any Margi-ism’s?

We said rock star A LOT in the beginning days and even had stickers in the office that we shared at Columbia. Every time I see a snot guard on a salad bar I laugh out loud and think about attempting a back bend over it.

Margi and Edna in 2018

 Memory from Margi

 

I met Edna in 1995 when I did a mentoring project in the summer at The Dance Center of Columbia College Chicago.  She was short, like me and she was a brave and voracious mover!  She had power and guts and I loved that about her. As I got to know her over many years she was a reliable friend and partner to me and the dancers. She was smart, with quick wit and a passion for teaching. She shared with us her love of animals, family and camping. Edna was always in a good mood and was armed with a gracious smile for everyone. I know those are all reasons why she currently has such an amazing following in the work that she does now. Her strength, beauty and energy really brought vibrancy to our creative process. I am proud that she is a founding member of the company and grateful for all her contributions and paving the way for many dancers who came after her!

Photo by William Frederking

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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Alumni Interview Laurel Moore Zahrobsky

Laurel with Julie Tice Photo by William Frederking

When did you dance with The Dance COLEctive? 

1995-2000

What was your transition from studying at Ohio University to dancing in Chicago, IL?

I took some classes at Hubbard Street Dance Company but it just didn't feel right so I found Columbia College and joined their classes because they would let community dancers take classes with students back then.

 


How did you first get involved with Margi/Dance COLEctive? 

I, obviously, met Margi at the Dance Center of Columbia College (it was her second home) and we hit it off right away.  I auditioned for a piece she was creating during her summer workshop.  From that point on I auditioned for anything she was producing.  When she wanted to start the company she began it as a contract per performance company only.  She would ask me if I was interested and when I said "yes" she would present me and other dancers with a contract containing rehearsal times, specific performance dates and monetary payment.  We did many performances both formal and site specific works before she formed the company as it exists now.  Margi was great about other auditions I went to and would tell anyone who would listen that they needed to work with me and give me a chance. 

Margi & Laurel 2016

What were some similarities and difference between Margi's work and the work you did at Ohio University?  

Working with Margi was so much like everyone I had worked with at Ohio University.  It was a natural fit.  She loves partnering, going in and out of the floor, moving from the center.  Working with her is as natural as breathing.  I really began to explore my love of Barteneiff Movement even more when I worked with her.  Even though her warm-up wasn't the one I was used to all of the sea elements were there.  She helped me to develop the technique and the way I teach it today.

The one thing that differed was Margi's intention of seeing the uniqueness in everyone's individual movement and capitalizing on that to make her choreography even better.  She also used the dancer's creative choices to create her choreography.  While I had done some of that in school, it wasn't as established in my various college choreographer's technique of creating.  So, it took some getting used to but in the end it helped me be a better dancer, choreographer and person.

What did you enjoy most about your time with the Dance COLEctive? 

I love that I was there in the beginning.  I loved being a part of the process of her figuring out what she wanted to do professionally and how she would stay true to her vision.  I loved seeing the company go from contract per performance style into a full company that held auditions.  I loved the friendship base that we built way back then because it has carried us through really hard times and she remains one of the people I could call on for anything, anywhere and she would be there for me.  For me, it was the relationships I loved.

Is there a specific work that stands out to you from the TDC days? There are two pieces but I don't recall their titles.  (Margi will know...  This dance was called From the Neck Up)  I think it was in the first piece I ever did for her.  We performed in girdles and it was so powerful to feel that exposed on stage and celebrating being a full figured woman.  I loved that even though I had clothes on her work made me feel vulnerable and naive.  I had so much to learn and I felt that the piece evoked that from all of us.

I also loved the duet she set on Edna Radnik and me.  It was about judging someone and how it feels when someone only likes you because of your material possessions.  We were in nude colored sports bras and bikers and we did the first part of the dance facing the back while we "finished getting dressed".  As the dance continued, with us reciting some of the poem the dance was based on, we then wiggled our way into clear dresses made from shower curtains that were hanging.  I loved the idea of the costume and the dance that happened because of it. (This dance was called Naked Truth)

What Margi-isms do you carry with you to this day?

Spray-on warm up
Let's make a pizza (when teaching young kids to stretch)
Pop up the toast (when teaching kids how to flex)
spackle (that is make up)
no decorations! (when girls do funky things with their arms when leaping)
wing ding dangle (the wing)
rock star (parking, dancing, and other areas of my life)
floppy fish (but this one might be mine and Margi inspired...I can't remember)

I know I say other things that were created in our time together but I can't differentiate them.  Ha.

Can you share something you value or learned from your experience working with the company or a reflection that you share as a teaching tool.  

I would say the thing I use absolutely the most is Margi's level of energy and sense of humor when she teaches.  I definitely remember to have fun when I teach and bring the level of education a fun place so they learn while having fun as well.  

Margi was just in Chattanooga working with your students.  Did that conjure up any thoughts for you? 

I loved that my students could be a part of the experience in working with Margi and that they were able to see the partnership we had live and in person.  It was nice for them to experience who I had worked with in my professional career and that I was part of something bigger that has lasted 20 years!  They really enjoyed the similarities in our movement style and I think the ones who have danced with me since 6th grade were really prepared for the partnering and connections they needed to make when asked to do so in this work. 

Alumni interview with Laurel Moore Zahrobsky conducted by TDC company member Liz Conway, December 2015