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Reflections on 2013

beetlejuicearms

Beetlejuice, Beetlejuice, Beetlejuice! (at SPARKcon, photo by roguemark)

Well FAD fans, another year is ending so it’s time to take a look back at all the lovely moments of 2013. Here are a few of the highlights:

January 13 & 25: The year began with our last two performances of Julep as part of the NC Dance Festival tour. First, a Sunday matinee at UNC-Wilmington then a Friday evening show at UNC-Charlotte.

February 5: New sections of Finding Place are performed at Artspace in downtown Raleigh as part of their First Friday open gallery festivities. (We are in the home stretch for the full show premiere by this point; I’m surprised we could even break from rehearsal for these three mini-shows!)

Finding Place premiere

Finding Place premiere in PSI Theatre, photo by DC Dance Photography

February 22 & 23: This is the big one – the full premiere of Finding Place at the Durham Arts Council‘s PSI Theatre! Wonderful stories, great music, exciting choreography, and touching film segments combined to create our third evening-length work in just five seasons. (And this one was completed in only nine months… needless to say the company was ready for a break following this show!)

March 13-16: Again this year, I traveled to the American College Dance Festival’s Mid-Atlantic Regional Conference to represent the company and teach classes. With class scheduled at 8am this time, the turn-out was smaller than the last year, but still about two dozen collegiate dancers got to learn parts of Finding Place choreography (in addition to getting in the company’s traditional technique class).

April 28: We perform Journey at NC Dances in Cary, NC. Journey was originally created for NC State University’s Panoramic Dance Project, so this marked the first time Code f.a.d. dancers got to perform the work. We also brought in a guest dancer for this show – Sarah Putterman! We hope we get to work with Sarah more in the future.

May-July: Code f.a.d. Company was quiet this summer, but there were certainly creative juices still flowing, preparing for the busy fall season ahead.

August: The company finds two new rehearsal “homes” for 2013: Barre-Up and Cirque de Vol Studios. Holding our Saturday classes at Cirque de Vol has given us the opportunity to make this the first season we open company technique class to area dancers, and we have had a great time inviting more folks to join us a few Saturdays each month! Following auditions after one of these open company classes, we are also pleased to welcome three new dancers to our group: MacKenzie Buice, Krystal Lynch, and Anna Maynard. You can expect to learn more about all of these lovely ladies in the coming months on the blog. Rehearsals are also in full swing for Dear Nature, our new work inspired by the Artspace exhibition of the same name, including artwork by Natalie Abrams, Mi-Sook Hur, and Cynthia Camlin.

Dear Nature at Artspace, photo by Anna M. Maynard

Dear Nature, photo by Anna M. Maynard

September 6: First Friday at Artspace brings the partial premiere of Dear Nature in Gallery 2. Just like in February, we performed three 10-minute shows throughout the evening, to packed crowds!

September 12: Beetlejuice, Beetlejuice, Beetlejuice! Stuck right in between our Dear Nature performances came 2013 SPARKcon, and being we have participated in the festival for the past five years, we couldn’t let this one slip by without a Code f.a.d. appearance. The company invited some guest dancers from AWW Performance Company to join us in an interactive performance following the Beetlejuice theme (chosen by this year’s filmSPARK organizers). The show was complete with the super talented Todd Buker (composer to much of our work) performing as the sandworm!

September 18: Back to Artspace for the full Dear Nature premiere, and it was such a great experience to perform in the gallery among the artwork that inspired the piece. This show also marks the debut of two new artists in our ranks: composer Julia Price and poet Jessica Mansell Temple! We are excited to work with both Julia and Jessica on more new work in 2014.

October 12-13: I attended the NC Dance Alliance’s Annual Event as our company representative to teach classes (more Finding Place repertory is taught to high school attendees and professionals) and to speak about our dance films in a lecture/showing with other dance filmmakers based in NC.

Gerren roams through the audience during the performance at Masquerade

Gerren performs during Masquerade

October 25: Masquerade! Thank you to all who attended our fall fundraiser cocktail event, Masquerade. If you were unable to attend and would still like to support our work, we accept tax-deductible donations securely online through our fiscal agent, Fractured Atlas: http://www.fracturedatlas.org/site/fiscal/profile?id=4584

November 13-17: Destination by Michael Kors (one of our fashion-inspired dance films) makes it into its first big film festival! I traveled to Wilmington to attend Cucalorus for the screening (and got to see many other films and speak with filmmakers of all kinds at the events – inspiration was gathered for many new works to come).

from the film, Destination by Michael Kors

Destination by Michael Kors

December 6-12: The last performance of 2013 was on December 6 in Winston-Salem, as part of Movies by Movers IV. We performed a few excerpts of Dear Nature, adding video projections to those sections we took and titling these portions A Few Southern Legends. I’m excited to turn some of these sections into stand-alone dance films in the coming year. Also, across this entire week I was honored to have the opportunity to teach dance students at Jordan High School in Durham, NC. The advanced “company” dance class worked on a dance film project while junior and senior-level technique classes learned Horton modern dance technique.

And there it is… well, was. What a great year 2013 turned out to be for Code f.a.d. Company – lots of new faces and new dances! So, what does 2014 have in store for us? I’m tempted to just say wait and see, though I’ll give you a hint to be on the lookout for new dance films (hopefully) hitting the festival circuit in 2014. (And don’t worry, we’ll post some clips and photos from the shoots online, too.) Thank you for continuing to support the work that we do, for supporting dance, and we wish all our fans a very Happy New Year!

See you in 2014…

-Autumn
(Code f.a.d. Artistic Director)

A Few Southern Legends

A Few Southern Legends

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Creative Work, Finding Place, Travel

Back to work in the new year!

We are a few days into 2013 now, and rest assured, the company is busy once again after a break from rehearsals for two weeks. Yesterday afternoon Christina, Gerren, and I met to record our stories from Finding Place. (Thank you Chris White for your help with the recording!) While my story has already been choreographed, we have just barely started working on material for Gerren’s (and haven’t started Christina’s at all). Click here to listen to just a short portion of Gerren’s contribution to the text of the piece. As you can probably imagine, the images of those clowns are too irresistible not to work into the piece! Luckily, we’ve already found some volunteers to join our Finding Place cast:

a couple creepy clowns...

a couple creepy clowns…

So, the choreography is coming along with new dances and new stories, and good thing because we are only a month away from our First Friday perform at Artspace! We will be showing a short portion of Finding Place in Artspace’s downstairs education room on February 1 – a special preview performance ahead of the big premiere later that month in Durham. Shows will last approximately 10-15 minutes each and will take place at 7pm, 8pm and 9pm that evening. *Don’t worry, we’ll remind you again as we get closer!

Speaking of performances, we are even closer to our next tour performance of Julep; the company will be in Wilmington, NC, next Sunday, January 13 for a 3pm show in the Cultural Arts Building on the UNC-Wilmington campus. See ncdancefestival.org for more info or to buy tickets in advance. If you haven’t had the chance to see this work yet, please come out! We only have one tour stop left after Wilmington (January 25 in Charlotte). Feel free to view again the video clips of Julep online to get excited for the performance. Did you know there is also a 6-person version of Julep (in addition to the trio the company performs)? I expanded the cast last year to set the work on the NCSU Dance Company, and honestly, I don’t know which version I tend to enjoy watching more! Check them both out on my personal YouTube channel and the Code f.a.d. channel.

I know this post feels a bit disjointed – must just be the craziness that is the new year – and double show prep… Our regular rehearsal schedule starts back up tomorrow morning, so you can look forward to some video clips of our new choreography up next week!

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Film, Finding Place, Guest Dancers, Travel

On Vacation in NYC

After a very successful premiere of Finding Place at the NC Museum of Art, it is time for a break! So the dancers and myself take from mid-July to mid-August off from regular rehearsals. A few of us actually take real vacations, while the rest find the time to catch up in their “regular” lives of 9-5 jobs, laundry, taking care of kids, going to school, etc.

I take advantage of the small bits of free time to attend the National Dance Association’s annual pedagogy conference in Norfolk, Virginia, and then go to visit a good friend (and fellow dancer) Monica in New York. (I’ll write more about the NDA conference on my personal website soon: autumnmistbelk.com)

Most modern dancers I know love to take pilgrimages to NYC as often as we can. We take classes, see shows, and generally just enjoy feeling like New Yorkers without having the sky-high rent and being able to know when we go back home we’ll have washers and dryers in our homes. My trip was no different; I took several modern dance classes (at The Ailey School and Dance New Amsterdam), some anti-gravity yoga classes, and went to see Zarkana at Radio City (thank you Living Social deal) and (a definite highlight) Sleep No More! This was also a bit of a “work trip” in that I worked with Monica on a new film section of Finding Place, which we shot in Central Park.

Monica in Finding Place

Before I got to the city Monica sent me her story to be included in Finding Place, a bit of it is below:

The city where I grew up as a little girl was very hot and humid. We only have two seasons there: hot and rainy and hot and not so rainy. … One night when it was bedtime, we lost power. It had been a very hot and humid day and thankfully it started to rain after we lost power. My dad had a brilliant idea; he opened our apartment door so we could get some of the refreshing rainy air into the apartment, and he grabbed a mattress for my mom, my younger sister, him, and myself to lay on while the power came back. When it did, I didn’t want to go back to bed in my room, it had been very fun to lay all together, hearing the rain fall.

Obviously, it would have worked out quite well if it had been raining the day we needed to shoot our footage, but no such luck. No worries, we definitely captured the “hot and humid” feeling, and some rain noise will be added in to the video later. A tiny bit of our Central Park footage is captured below; look for the completed film to debut with the evening-length Finding Place in February 2013. (I left in the New York city noise for now. Monica’s story and some rain will overlap the movement in the final version.)

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Final Preparations & NCMA Performance

If you’ve been following the count, you know that our final rehearsal before the NCMA performance of Finding Place is also rehearsal #9. That is VERY fast to make a 15 minute work, particularly one with this many dancers (12), but nonetheless we are upon the show! This final rehearsal was spent reviewing the entire work, making sure dancers had the details correct, and practicing what the performance will be like in this informal lobby space. The audience may walk through your pathway, and there is no “offstage” I remind the dancers; even if you are not the “performer” in a particular part, people will be watching you. You cannot relax or break character. Embody our theme, mood, and community. I utilize every minute of our 3-hour rehearsal, but as we finish at 9pm on July 5, I know when we gather again in two days for the show, we will be prepared. The dancers and I are ready and confident in the art we will present.

Then, the day arrives.

The museum security guards are the first to welcome us with “you must be the dancers.” We carry in our wooden trough, half a dozen trash bags full of wine corks, and my great-grandmother’s trunk containing the coke bottles, make-shift caramel pie, and moon pies. The first item of business is to decide exactly where the trough should be in our space. The dancers mark through some movement so we can be sure how much space they will need, while making sure we leave enough space for the video projector and audience. A few minutes later we have the trunk and trough in place and full of corks; the dancers are free to finish getting into costume while I look for our technical assistant to set up audio and video. Naturally, being a museum, the installation of these two large items did not seem too out of place, and we had many patrons come over to get closer looks at the pair of cork containers. This provided more opportunity for me to talk about the company/the work and to gather audience for the shows; I was very pleased to see many of these same folks stick around the our first show (about an hour after set-up).

For such a short amount of time in process, Finding Place premiered even better than I might have hoped. We had wonderful audiences for both shows, full of dance and art-lovers of all ages (from about 5 to 80+ yrs old by my estimates). We will surely continue work on expanding this piece, with plans to show an evening-length version in late February. (Keep watch of this blog and our website for the details!) In the meantime, I hope you will enjoy show videos clips from the performance at the NC Museum of Art.

-Autumn
(Code f.a.d. Artistic Director)

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MoonPie
Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsal 8: Moon Pies & Diamonds

We’ve completed the opening, closing, middle movement section, and the first story section. We’ve also recorded additional stories, so now to choreograph a second story section – to complete Finding Place for this first performance! (As I might have expected, this work is calling for even more development; I’m sure it will evolve into an evening-length work later this season. For now, though, we only have about 15 minutes to perform at the NC Museum of Art, so we are wrapping it up.)

Our second story section begins with a story by founding company dancer Jill Bradley Hall – a story about her grandparents’ farm and old country store. Despite teasing for her country accent by fellow dancer (and northerner) Christina Serafino, Jill paints the picture of this store quite vividly:

“It fit the stereotype of small country store perfectly. Old men sat on the front porch talking, dipping, and smoking; an old coke drink box sat in the back next to a refrigerator where you could cut your own bologna; and there were cases and jars full of candy and etc. The highlight of every visit to the store for my sister and I was the chance to choose one item for ourselves. I almost always chose to get a Moon Pie. I loved them. Except for the chocolate kind.”

Upon hearing the story, Christina also mentions how she hates Moon Pies, so… she is the natural choice to play Jill’s sister and have to dance with a Moon Pie! The rest of the duet comes fairly easily – a combination of our playful movement from section 3 and gestures towards our coke bottles and other store provisions.

The rest of the second story section is a combination of two stories contributed by our guest dancers Jennifer Kirby and Corinne Canavarro. Jennifer talks about the sentimental value of her diamond engagement ring (containing her late grandmother’s diamond), while Corinne describes her grandmother’s dining room table and its community-building properties. These two stories just seemed to compliment each other beautifully, and so I had Jennifer and Corinne each say one line at a time – alternating segments of their individual memories. The choreography followed suit with Jennifer performing short solo combinations showing the love she has for both her grandmother and her (now) husband in between the larger ensemble gathering around our symbolic dining table. There is nothing too fancy about the dancing in this section, though I have a feeling it is some of the most potent movement in the piece.

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsal 7: How does it end?

While most may believe the ending of a dance is naturally the last part to be created, that actually rarely happens with my work. I usually know how I want a piece to end sometime near the beginning of the process. I recall, for example, making Indulge – the idea for the ending of the dance actually came up in our first brainstorming session between video artist Colby Hoke, dancer Natalee Campbell, and myself. (If you haven’t yet seen Indulge, you’ll just have to trust me that it is a memorable ending – involving the consumption of almost an entire red velvet cake…)

So, true to form, the ending for Finding Place occurred to me rather early in our process, though I hadn’t had the chance to map out the exact choreography with the dancers until this (our seventh) rehearsal. Seeing the material with our music, with all those dancers, it just looked better than I could have imagined! The projected video is also a huge part of the ending especially; we will be projecting an image of El Anatsui’s Group Photo throughout the closing of the work. The dancers become the living embodiment of this sculpture installation; they bring those ideas about community and who we associate with to life. I’m sorry that the dancers will not be able to ever see the work in its full realization, but that is the plight of the live concert dancer. You can watch videos of the work after the fact, but it is never quite as memorable as being there in the moment. I’m just so grateful there continue to be wonderful dancers to choose to perform and create those moments (even while sacrificing ever seeing them for themselves).

costume imageAs we come closer to the end of our process, we also began nailing down all those other details for the performance, like costumes. While I initially contemplated ocean-themed costuming (blues, teals, and greens in flowing fabrics), I had a few dancers try on some jumpsuits in the Code f.a.d. costume arsenal, and for some reason those just hit a nerve. Now to complete the idea by finding jumpsuits for a dozen dancers (perhaps minus our one man who will surely be fine in pants and a shirt)… A few of the jumpsuits and rompers found can be seen in the photo above; I can only have faith we’ll find enough that function together by the big premiere.

-Autumn
(Code f.a.d. Artistic Director)

The premiere of Finding Place will be Saturday, July 7, 2012 at the North Carolina Museum of Art. Performances will be held at 2pm and 3pm; visit codefadcompany.org for more info.

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsal 6: Hair Braiding & Caramel Pie

Finally we get to start on the first story section of Finding Place! The story sections are where we really get to point out the meaning behind some of our movement to the audience and share personal memories about family, community, and objects that trigger those memories.

For our first section, I decided on three stories: a brief “introductory” story (my own) to give some context to the Coca-Cola bottles seen in the trunk onstage, a slightly longer story from Kirsten about spending time in Jamaica visiting family, and (our longest story) Danni’s explanation of her trouble making a very special caramel pie one Thanksgiving. From Kirsten’s story:

This one day an older woman passed by asking for food, so I gave her some of the dried plantains I’d been eating. After she ate them, she took my hair and braided it into this beautiful, intricate pattern.

Right away Kirsten’s memory set up a relationship between two women, and it gave us ample inspiration for movement – all the patterns of braiding. While the swish of a leg behind the body or the arc of an arm overhead may occur in your typical hair-braiding session, once you imagine the dancers not only as the people but also as the hair itself, I believe you will see the images quite clearly. See the rehearsal image below: Jill and Kristina dance as the braiding hair while Kelley and Euijin are braiding in a more traditional context.

rehearsal image

Danni’s caramel pie story was similar in that parts of the text translated to movement quite easily – topping the pie with Cool Whip, caramel melting and splattering on the ceiling, a dog sticking his paw right into the pie… as you can tell, this is quite a story! There are many of these humorous antics but the story also has a very touching message as Danni remembers her grandmother who originally made the recipe for this special pie.

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Hear more about Kirsten’s time in Jamaica and find out what happens to this disastrous pie at the Finding Place premiere!

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsals 4 & 5: More of the Same

rehearsal image
The next couple rehearsals (one with just the company dancers and one with our full cast) really consisted of the same type of work we had been doing the previous week – working on the opening of the piece with gesture material and setting that middle “big movement section.” So, this week felt as if not much progress happened, though, not only could this be expected at almost the mid-way point in our process, if you look closely we really DID make a lot of progress.

The opening and the middle sections were both completed this week, meaning time-wise we are about halfway done with the choreography. The opening really looks very meaningful and the middle is quite “dance-y” and satisfying to watch, but without our story sections in the mix yet (and without the video!), it is difficult to make any sense out of what you are seeing. Of course, in my mind I can see how it is going to work together and make sense… I hope I’m right.

During this week I also collected more stories from all our dancers, and they are so wonderful I wish we could use them all! Perhaps we will keep working on this piece after the NCMA show, work all the stories (and maybe more) into the performance, and end up with an evening-length work about our community. Some really great thoughts from within the stories:

“I was obsessed with [my first pair of ice skates]. Rental skates are in general very unattractive and are usually blue or brown in color. I was so excited to have my very own pair of white skates, and the day we brought them home I just stared at them. I examined the all the contours of the shape of the skate and I was in awe of their pristine condition.”

“On April 1, 2004, my family and I went to the Cleveland Indians home opener. I remember that it was raining and freezing, but I was so happy to be there! (We drank a lot of hot chocolate during the game.) I remember sitting directly in front of first base and that we were so close that I felt like I could lean forward and be able to touch the base.”

“As a child I always dreamed of becoming a painter. I loved the ability a painter has to take a completely blank and lifeless canvas and bring such a vivid portrayal of emotion to an on-looker’s attention. … No one sees the world like an artist. [Art] has allowed me to develop and appreciate the world in all its grandeur. No other place is as simplistically complex or completely simple as this world.”

What has captured my attention the most are the brilliantly clear images created by the dancers’ memories. The above are all from stories that we actually are not using in Finding Place – at least not yet, so stay tuned for some sneak peeks at the stories you’ll hear on July 7! In the meantime, enjoy a bit of our “big movement” middle section:

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsals 2 & 3: Finding an Opening

After the first rehearsal with our expanded community of dancers, we had some time in the studio with just the Code f.a.d. company members. We spent a couple hours on this Saturday morning developing even more material, plus working with our gesture phrase to figure out how Finding Place should begin. I would say more often than not, I work in this way – finding some vocabulary, developing a few phrases of movement, then figuring out how the piece should start. So, we are not quite just starting from the beginning, but usually that is the first part of the work that gets set or staged choreographically. This way it is easier to see where the arc of the piece will need to go.

Technically, we started with the middle of the beginning on Saturday. I knew I wanted some of our guest dancers to do the very first movement the audience will see – a portion that then was set in rehearsal 3 (the next time with all our dancers). See below a rehearsal shot of one of the first images in the work:

Rehearsal Image, June 14

Of course, we still have to work out costumes, and even that box is not the real prop we will have by the time we get to the NC Museum of Art, but we are used to working with whatever is around at the time until all those details are hammered out. I find it better to start working before getting those types of things to some degree because then you can see more clearly what you may ideally need for a prop/costume/set.

The company members and I mapped out that “middle of the beginning,” and each company dancer used part of our gestures to create a “big movement phrase” for the work. They were instructed to stick with the same style as the two phrases I had already taught them, but otherwise were free to interpret the assignment as they liked. We got some very interesting movement, yet at the moment I wasn’t sure how to make all this “big dancey stuff” turn into this work of art we are aiming to create. It turned out, all I needed to do was ponder a day or two while listening to the piece of music¬† I had already designated for this section (composed by Proxy/G. Todd Buker, of course), and most everything started to fall into place.

Rehearsal 3 (back with all our dancers – company + guests) was then spent staging the “beginning of the beginning,” and working out as much of this “big movement section” as we could get through. We made it through about half. Fourteen dancers is quite a lot to work with for all that loco-motor dancing, particularly since I tend not to like large sections of unison material. I’m feeling confident we will finish this part in our next full-cast rehearsal, though, and I hope the “story sections” will progress a bit quicker. (I say that only because of the short amount of time before the July 7 performance; overall this is probably the fastest I have choreographed a work – surely the fastest with so many people!)

As you might have gathered by now, Finding Place has several sections of dance. For this premiere performance, I’m envisioning 5 sections in all: Opening, Story 1, Big Movement, Story 2, Closing. These aren’t titled sections, just how I see the work laying out. (And we may continue working on this piece after the premiere – adding additional stories and sections.) Thinking about the work in sections also is making it a bit more manageable for me to be able work on parts in rehearsals with everyone and other parts in rehearsals with only a few people. The opening, big movement, and closing sections definitely involve the entire cast, so those are my priority in our larger rehearsals. I’m almost ready to get started on the story sections now, though. We’ve been collecting stories from our cast members, so it is exciting to see how their memories will shape our “place.”

-Autumn
(Code f.a.d. Artistic Director)

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Creative Work, Dance, El Anatsui, Finding Place, Guest Dancers

Rehearsal 1: Defining Community

I know we’re behind on our blog posts… know we are so busy working on this new piece, that blogging just slipped my mind! I’m ready to update on all this progress, though, starting from our first rehearsal with all our extra “guest” dancers.

Since so much of El Anatsui’s work is about community, Code f.a.d. decided to expand our community for this show: we have invited 10 guest dancers to join our 4 company members for this performance. Fourteen dancers?! Wow. It is so inspiring to work with all these dancers each week, and to think they have chosen to work with me – that means so much to me… I feel so supported in this art-making.

So, to briefly introduce you to our cast, we have:
Christina – company member, working with me for 6 years now…
Jill – company member, lately was on sabbatical since she moved away, but we are so excited to have her back (slightly closer in South Boston, Virginia) since she has also been around since the beginning – 6 years ago
Kelley – company member, joining in Code f.a.d.’s first “official” audition 4 years ago
Kristina – apprentice for Code f.a.d.’s 2011-12 season; we are excited to have her perform in this as her first show with us!

And the “guests”
Jo, Jen, Danni, Jacqui, Josie, Euijin, Alex, Corinne, Kirsten, and Bronchez
You’ll be learning more about these folks in future posts…

On to our first rehearsal:

This was a “get to know you” type of day even though I have worked with the majority of our guests (many NCSU student dancers); the other Code f.a.d. dancers had not met them – and at least one was new to us all (welcome back to the U.S., Danni)! We had a company technique class (and other CFC dancers Brooks and Gerren joined in, even though they cannot be in this performance with us), then we worked on some of the “big dance phrases” for the work. Starting with the tougher stuff, I figured.

My favorite part of this rehearsal, though, was the second half where we really got into the content of the piece. Dancers each thought of one way in which they define community, and they each came up with a movement to illustrate that definition. (There were guidelines, of course; I told the dancers they were not allowed to move their feet in the movement – as if they were glued to the floor.) Once each dancer found their movement definition of community, they taught each other the movements and we made one long phrase of “glued-feet gestures.”

Here is a portion of that phrase as we started working on performing in a cannon:

This isn’t a final version by any means, but I’m so excited to get all this material from our dancers and to start forming the work! More updates and video clips are sure to come as we continue work. I’ll leave you with this final thought – a title for this El Anatsui inspired work came to me following this rehearsal (as I was lying in bed, almost asleep – thankfully I wrote it down!)… Finding Place.

Thanks for reading. I hope you enjoy my chronicle of our journey  РFinding Place.

-Autumn
(Code f.a.d. Artistic Director)

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