Summer Movement Institute 2010 Blog
Close the Curtain
Posted 8/13/10 by Indiadora Nicholson, Student Intern, Age 17
After all the warm ups, 5, 6, 7, 8’s, pliés, parans, diets, music classes, yoga exercises, field trips, and water breaks, the last day finally comes. With an excited nervousness the Summer Movement Institute dancers come for their last time to 50 Chestnut Street. This Saturday performance is an hour combo of all they have learned and trained for in their three weeks at the Summer Movement Institute. Khama Phillips and Nicolette Depass review the Garth Fagan Dance technique for the last time in the 2010 summer. During the 15 minute snack break before Repertory Rehearsal the dancers enjoy blueberries instead of popcorn while they watch a WXXI documentary on the Garth Fagan Dance Company. While the documentary is going on the 17 and younger and 18 and older groups converse and practice routines to get them perfect for the performance in an hour and a half. While the final Repertory Class is happening, friends, family, and teachers filter in and start observing. By 2:15 the entire 3rd floor studio is filled. People are packed on the top seats, fold out chairs, and a few are scattered around the back near the food table.
The presentation runs over the one hour scheduled, but it is well worth the extra time to see the dancers give it their all to jump that much higher or bend that much lower. The show was a mixture fun and sorrow, relaxation and excitement, and the past and future. The best part would probably have to be the immense love the audience had for the dancers on stage. With every extraordinary routine, spin, and solo a congratulations cheered from the mass of approving faces. Following the last dance the dancers reconnect with family, friends, teachers and other dancers. A few interview with me commenting on how the experience was. While in those interviews I see just how much the Summer Movement Institute makes a difference and how come it has been such a success for the past six years.
RICE
Posted 7/30/10 by Indiadora Nicholson, Student Intern, Age 17
Anatomy. A seemingly useless class for us, who on a day-to-day do little more than wake up, walk to car, and arrive at work where we sit (or do some other form of light exercise). But, to the Summer Movement Institute dancer, Anatomy is extremely important. Because they dance all day, five times a week, for 3 weeks, they must be extremely cautious of their bodies. Serena Han, the Anatomy teacher, also a dancer herself, teaches the 17 and younger class RICE. 4 steps to help recover after an injury. Rest “you have to decrease your activity or stop”. Ice “not only does it bring down the swelling, it numbs the area”. C is for compression “it also reduces the swelling, and E is for elevation “raise it [the injury] above your heart. Throughout the rest of the class Serena gives advice on not only how to dance, but on how to protect your body so they can keep dancing strong.
Doing it like the Professionals
Posted 7/29/10 by Indiadora Nicholson, Student Intern, Age 17
Today dance professor of the University of Milwaukee, Wisconsin, Ferne Bronson took over the 11:15-12:30 scheduled spot. She taught the 18 and older, plus a few choice dancers from the 17 and younger group, African dance. “My passion, my heart, has always been in African dance…the New World, Caribbean,” the professor says. After visiting Ghana she started her own dance company in 1969. “Garth has been kind of like a person I’ve been shadowing coming up.” Even though they have two different styles of dance, hers being African, Garth’s style more modern-Caribbean, he was still a mentor. Through that friendship she has sent five of her dancers from Wisconsin to the Summer Movement Institute to learn more about the “Fagan Technique”. Ferne Bronson decided to pack up her dance gear and head down to Rochester and visit her dancers along with the Garth Fagan Dance Company. Good thing she did because she has given a lucky group of dancers a class to remember.
The Melting Pot
Posted 7/28/10 by Indiadora Nicholson, Student Intern, Age 17
The Garth Fagan Dance Company thinks that it is very important for their students to be accustomed to all styles of dance. So the Summer Movement Institute Dancers are taking a field trip to the “Little Theater” in downtown Rochester. Here they watch a film “Flamenco” by Carlos Saura. After returning to the dance studio Natalie Rogers-Cropper gives some insight on the un-translated film. She begins “In the 19th century as a result of cross roads in cultures a new kind of music arose…the Gypsies, they were mixed to form the musical structure of Flamenco…(the structure) is expressed through singing and dancing.” Natalie points out the similarities that Flamenco dance has to belly dancers and the Egyptians. She relates the Gypsies Flamenco dancing to Reggae in Jamaica, how it belonged to the “lowest of the low classes” but now is widely appreciated. One of the things the 18 and older dancers liked about the film was “It was all inclusive, it was young, old, skinny, big, all different shapes and sizes. Another thing was that, the emotion in their faces and focus was so intense.” This especially rings true for the Garth Fagan Dance Company.
We're All in this Together
Posted 7/27/10 by Indiadora Nicholson, Student Intern, Age 17
As part of being in the Garth Fagan Dance Company you must participate in the Summer Movement Institute. The more experienced dancers, Khama Phillips and Nicolette Depass, are the main instructors for Technique Class. While the beginners such as Michael Fernandez and Vitolio Jeune assist by showing the students correct form and counts. For the majority of the later classes (Music Appreciation, Music for Dance, Nutrition, Preparing for a Career in Dance) Natalie Rogers-Cropper, the Garth Fagan Dance School Director/Assistant Rehearsal Director, takes on the responsibility of being well educated in a series of dance related topics and being able to give a detailed one hour and 15 minute speech on every one. Bill Ferguson, ex-dancer turned Artistic/Administrative Liaison, gives the 17 and younger group a theme and helps them become choreographers themselves. Natalie Rogers-Cropper does this as well in her Composition Class with the 18 and older group. Norwood Pennewell (the Rehearsal Director/Assistant to Mr. Fagan) teaches the 18 and older selected dancers a new piece he has created while Lindsay Renea, Vitolio Jeune, and Nicolette Depass teach their students famous Garth Fagan works in Repertory Class to be performed on July 31st. Being a Garth Fagan Dancer is not only about the dancing but about leadership, responsibility, and service.
Dancing in the Rain
Posted 7/26/10 by Indiadora Nicholson, Student Intern, Age 17
Rain or shine the Summer Movement Institute instructors and dancers pour into the studio at 9:00 am. A few more trickle in running a little late because of the bad weather. As it rains outside inside the students on the 3rd and 4th floors are boiling up during Technique Class. Since the end of the second week of the Summer Movement Institute everyone is more fluid in their dancing, and the warm up is flowing like a steady stream. Later on in the muggy day all of the students combine into the 4th floor studio to talk about Preparing for a Career in Dance with Abby Adair and Natalie Rogers-Cropper. Abby goes into detail on the business side of Garth Fagan Dance, especially how challenging it is to get donations when the economy is bad (donations count for about 70% of dance company’s money). She also tells them about Garth Fagan Dance’s marketing through brochures, video, outreach with the community, press packets, and popular websites like Facebook. Natalie really focuses on how to make a good impression and “life after dance”. Natalie gives countless examples of how headshots make an impression, great and mediocre dance shots, and how to write a dance resume. She then goes on to tell a story about how your attitude can help you, like it did with an intern who is now working at Garth Fagan Dance, or hurt you, as it did with a rude classmate in college who auditioned for The Lion King. On this gloomy day Abby Adair and Natalie Rogers-Cropper shed some light on how to make it in the dance world.
To The Max
Posted 7/23/10 by Indiadora Nicholson, Student Intern, Age 17
While interviewing the 17 and younger class for my upcoming documentary I was told by the majority of their class that Repertory was by far the most challenging. But first, what is Repertory Class? “It’s when we have to learn one of Mr. Fagan’s works, one in his really really really really big repertory, and it’s really hard.” (Harris Turner). Why is it so hard though? “Because it’s not as easy as they make it look on stage…when you see pieces on stage and then you actually learn the choreography and you know how it’s supposed to be executed, it’s a lot harder than again, how they make it look.” Shawn Powell states. But, as a bystander, anyone can see the vast improvement in newcomers Stephanie and Brooklyn, as well as the class as a whole. There is no doubt that come July 31st this class will bring an amazing performance. The entire group is working hard to achieve this goal. If you see them practicing on the fourth floor studio you would be able to tell. As they rehearse over and over again, Vitolio Jeune and Lindsay Renea add in pointers and critiques. The young students push themselves to the max so they can do it like the professionals.
A Beat You Can Dance To
Posted 7/22/10 by Indiadora Nicholson, Student Intern, Age 17
There are many songs out there that are great to listen to. Some we might even like to blast when no one is home and dance around the house. Others are songs that will make our day a little better while stuck in a traffic jam. But, what songs will make an impact on stage? More importantly what songs will aid a dancer to leave a lasting impression on their audience? This is why the Summer Movement Institute Dancers take Music for Dance with Natalie Rogers-Cropper. When I entered the room the class was silent listening to a string quartet of a Radiohead song Andrew had presented to the class. It left a haunting spell over the small third floor space. He says he likes this version of the song because the meaning “It’s still there, but it’s underneath, you really have to listen to it.” Natalie Rogers-Cropper warns that if the song doesn’t “Build to anything, or change in anyway, you run the risk of losing your audience as well…you should always try to have layers,” and that’s exactly what the next student's song has. With commanding violins and a raw pounding beat the class unanimously approves. Terry comments “I like the intricate patterns within the music. The beginning makes it seem more springy, like you think of bunnies and flowers, and as it gets closer to the end it becomes more definite and powerful.” Natalie tells her that this is “going to take some work” because of the drama within the music. But, these 18 and older dance students are no stranger to dominant center stage choreography.
Fieldtrip with the Iron Man
Posted 7/21/10 by Indiadora Nicholson, Student Intern, Age 17
All of the Summer Movement Institute dancers gather into the yellow school bus and head to the west side of the city. We arrive at a canary colored factory-like building. After hiking up two flights of stairs we are re-acquainted with Albert Paley’s work. As soon as you open the doors into Albert’s art studio you see Norwood Pennewell dancing among one of his pieces. The tour guide goes on to show us a large sketch that Albert Paley made for a design of the National Aquarium in Washington, D.C. but that was not realized because it was “too flashy for Washington”. The rest of the trip she goes into all the steps he must go through to make such spectacular pieces as he does. She also states the difficulties he faces in finding the right construction crew, because each one of the seven must be specially trained. Another difficulty is the mathematics involved in making such large quantities of work (averaging around 70 feet tall, the highest being 100 feet). She escorts us down into the workshop where we are surrounded by scrap metal and 15 foot models of larger molds. Outside of the studio we see gigantic colorful statues, which are placed outside because they are to large to be placed inside of his “factory”. The students shuffle back into the school bus and return to 50 Chestnut Ave. to have a quick lunch and dissect what they have just witnessed.
What is Dance?
Posted 7/20/10 by Indiadora Nicholson, Student Intern, Age 17
The 1st week of the Summer Movement Institute is wrapping up, but the experience has just begun. After a full day of Technique, Nutrition, Composition, and repertory the Summer Movement Institute dancers take a field trip to Nazareth College where Elizabeth Streb and Garth Fagan are answering a series of questions revolving around “What is dance?” Both Streb and Fagan describe their styles of dance. Elizabeth Streb illustrates her choreography as full of action splitting from the typical thin mold of traditional dancers. She wants her dancers to “tear through space”. You can see this clearly when you watch her dancers on stage. Garth Fagan says “I was working against, I wanted to see things on stage that have never seen before…I wanted my dancers to be simple human beings dancing, and that was the main thing I wanted to do, and I wanted to include the speed and precision of ballet, which I love, but the earthiness of African Caribbean dance and all of the traditions in both.” Throughout the entire succession of questions Elizabeth and Garth comment on the similarities and differences of their choreography, the whole time extremely supportive of one another. “I absolutely love and adore this woman” Garth states, while she replies with “The feeling is mutual!” When the entire Garth Fagan Company accompanied by a large crowd of Summer Movement Institute dancers welcome Elizabeth Streb and her dancers back to Rochester, New York the next night that support is evident. This act really shows the enthusiasm of the dancers at Garth Fagan to be evolved in every kind of dance.
Getting Jazzy
Posted 7/19/10 by Indiadora Nicholson, Student Intern, Age 17
On the 3rd floor, in a remote room, the 18 and older class are having their own “hole in the wall” with jazz musician Herb Smith. After teaching them the basic jazz form the class sees it used in a variety of songs including You Don't Love Me by Dawn Penn and both versions of You Aint Nothing but a Hound Dog. After being acquainted with the form and lyric style Herb gives them a few minutes to form groups and make their own songs. This is when the real party starts. The students are extremely energetic and supportive. Their songs range from Drew’s “Everyday, I just feel my body ache/ and at the end of every day, I just feel my body ache/ oh my po’ po’ body/ though I do it again today” and a soulful “I couldn’t sleep last night, been stressin’ bout yesterday/ I couldn’t sleep last night, been stressin’ bout my delay/ I guess I’ll wait till the morning/ to shine my worries away” to “I’m in so much pain, I hurt from head to toe/I said I’m in so much pain I hurt from head to toe/ my legs, my knees, my calves, my @##$, I don’t know what’s next to go” and “We like roll back prices, so we shop at Wal-Mart/ I said we like roll back prices, so we shop at Wal-Mart/ Cause Wal-Mart, low prices/ is where they start….Wal-Mart!”. In the spirit of the class Herb Smith plays along on his trumpet while the chorus of dancers slide into the rhythm of jazz.
You Ain’t Seen Nothing Yet
Posted 7/16/10 by Indiadora Nicholson, Student Intern, Age 17
During their third day of class Bill Ferguson tells the 12-17 year old class to watch a short clip from Translation Transition. The object of the class is to teach them counts, rhythms, and styles of dance, he explains. The first time they are to just watch the piece. Next they must write ten styles of dance the best they can from the mini clip. The students struggle to find different positions of dance in the section but Bill encourages even the beginners to find ten things. After a while the group hesitantly finishes the assignment. Next Mr. Ferguson says to write about the relationships of the dancers to each other, one another’s movement, and the lack or presence of music. This concept he cleverly ties into the Composition class that he also teaches to the 17 and younger class. For the last assignment Bill asks them to pretend to be dance critiques and use what they have already written for inspiration. Pens of concentrated apprentices scribble ferociously as they write, ex out, and re-write what they have just seen. When they are finished, Bill calls on one of the youngest, Brooklyn, to read her composition aloud in the front of the room. “Both dancers have a unique way of showing their relationship in the dance. They use lots of interesting movement in their dancing. For example, they have added chaine turns, parans, pliés, and ballet.” He tells a couple more students to share their fake newspaper articles then has the others give input along with his own.
After a quick lunch Norwood Pennewell’s selected group of dancers begin practice on a new piece he has initiated choreographing. The group watches the complicated positions swiftly starting to catch on while PJ corrects the slightest imperfections. The 18 and older selected students put their all into each movement building the anticipation for a spectacular piece no one should miss.
Getting in the Groove
Posted 7/14/10 by Indiadora Nicholson, Student Intern, Age 17
It’s the second day of the Summer Movement Institute and the 18 and older group is improving on the Garth Fagan technique. Nicolette Depass and Vitolio Jeune begin by displaying some tips for the classes “parallel fours”. As the students start on their floor stretches Nicky travels across the studio giving counts and assisting the dancers into the right positions. As class progresses the positions get even more quick and complicated. In the next part of technique the dancers review turns and ibongas.
In the next class all of the Summer Movement Institute performers pack into Studio B as Natalie Rogers-Cropper educates them on the relationship between dance and music. “Dance is its own art form, it is not a slave to music, it’s its own art form, and choreographers like Garth Fagan have been fighting for that for decades…now dance did not start out like that, dance and music were one in primal cultures, there was no difference between the drummer and the dancer.”
Before lunch the students are invited to watch the Garth Fagan Dance Company practice, a large majority who are their teachers. After lunch the 18 and older group goes to Composition Class with Natalie. Their requirement for this class is to do a single movement 40 times in one sequence of dance. Six students have already found their movement and present them for the class; the other students observe and after discuss how the chosen movements resemble a statue they saw the day before. In Repertory the group auditions for sequences that they had previously learned in front of Bill Ferguson and Nicolette Depass. After they both give advice on how to improve and instruct the dancers to try again. After their instructor's counsel, the 18 and older class gets in the groove.
What It's All About
Posted 7/13/2010 by Indiadora Nicholson, Student Intern, Age 17
As soon as the white painted elevator doors open on the third floor of the Chestnut Plaza you realize it’s begun, The Garth Fagan Dance Summer Movement Institute. Circles of children, teens, and young adults begin their pre-warm up stretches trying to get ready for the upcoming 3 weeks of intense training. But they know that after the 109 hours and 30 min. of practicing, it will result in one final show for their friends and family to be in awe of.
At 9:30 the Technique Class begins. First, for the under 17 class, floor exercises led by Khama Phillips and assisted by Michael Fernandez. With half stretched legs straining and far from perfect technique, the Summer Movement Institute dancers get reacquainted with the challenge of Garth Fagan Dance. Newcomers look to the more experienced dancers that place themselves in the middle of the floor. Khama points out Michael’s flawless method, pliéd feet, rolled back shoulders, and disciplined movements. In the standing exercises the dancers work their foot skills, carefully placing their big toes as far as they can point then cautiously sliding them back to a perfect as possible plié. The music of Justin Timberlake and Rhianna infiltrates the studio as the students practice triplets and foot work. Khama ends the class on a positive note giving encouragement to the beginners. The students have a 15 min. break to drink water, chat, or eat a light snack before their Yoga Class. The yoga instructor Malisa Lougher begins by introducing herself and leading the class in breathing exercises. She then tells the class to go into a series of positions that progressively get more and more challenging. At the end she tells them to go into the “corpse position”, lying back down on the floor with their body totally relaxed, palms up, they stay like this for 8 minutes, renewing themselves.
The Summer Movement Institute dancers fully recharge during lunch, making sure to still stay limber for the composition class that they have next. During Composition Class Bill Ferguson explains that the 17 and younger students will be making a dance composition based on relationships. Bill then plays the class 3 songs that he tells them they must choose from by the end of the 2nd week to dance to. To melt their creative minds he tells them to “talk” to their partner through movement as a warm up. The rest of the class time is spent on improving the dancers esteem in their own individual style of dancing. The last class of the day the dancers are taught the last piece of Translation Transition in Repertory. It takes awhile for the class to get the steps as a whole so they run through the same steps over and over practicing them with complete precision. Lindsey Renea and Vitolio Jeune demonstrate how each move is done step by step and at the end of class Vitolio tells them that to get it right they must study the dance at home. All this and it’s only been the first day of the Summer Movement Institute. As the children, teenagers, and young adults arrive at the lobby of the Chestnut Plaza on their individual journeys home they are tired but appreciative of the hard work it takes to become a Garth Fagan dancer.
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