Tuesday, April 17, 2018

Estonian Hiaku

majestic mounts
from my sidewalk view down
snow like ski hills

Monday, April 16, 2018

Birthday Check-In

After 10+ pages in my personal, handwritten journal . . .


Presence (Groove/ Connection/ Responsiveness/ Playfulness)
Intentionality (Genuineness/ Curiosity/ Kindess/ Simplicity)
Embodiment (Reflection)

Desired Experiences:
social dancing - swing and house
live music
tap classes
African dance classes
research & performance-reflective writing
physicality every day

Doing well with: social dancing (could do better), have been to tap and African, though not frequently. Have written after seeing dance and music shows, though would like to increase this too - thinking about it, I HAVE seen several shows since my last check-in that I haven't written anything about. Doing well with physically every day, though room for improvement.

Desire to:
Memorize "values" as a mantra of sorts:


Onward into the year :)

Tuesday, March 13, 2018

Reflecting on Reflection House

This year, I challenged myself to up my dance writing in the form of jotting down reflections of shows I see or dance experiences I have. This round of this challenge to myself, I will focus on the production Reflection House, a new work by choreographer Jennifer Glaws/ Jagged Moves. I'm familiar with her work, after almost ten years of seeing it evolve, and one of the things that struck me most was the clarity of her pathway forward as an artist.

I was able to see bits and pieces of ideas she's been chewing on for awhile, as well as new threads that have developed in the last couple of years to take her where she is headed. Regarding long-held ideas of focus, I saw Glaws playing with soundscapes driven by heavy beats made into a full aural pallet by way of a network of interesting sound effects derived from everyday life and fantasy, webbed around one another. This made way for the dancers (who were stunning) to weave in and out of the sound, sometimes interacting with it directly and other times existing alongside it.

Another idea I feel she's been exploring and continues to examine is the interplay of solo movement themes that build into duets and exist amongst the action of the full group of performers. This framework landed particularly well within the life of this production's concept, the exploration of how humans yearn for self and group understanding or fit. Glaws' program note included terminology "selected and collected identity," which I found to be particularly revealing when viewing this new work. The dancers moved through this idea with equal measures of groundedness and inquiry, embodying the human experience of being equal parts confidence and questioning, not only of the world around us but how we move ourselves within it.

A relatively emerging aspect of Jennifer's artistry is further building the world her choreographic work moves within by way of video technology. She made interesting use of pre-created images, including silhouettes of bodies in interesting shapes, which dancers attempted to fit themselves into and around, as well as live video capture and projection, which snagged visuals of dancers moving through the moment we were experiencing together, once removed by a camera. Also incorporated were sketch-like visuals that shifted throughout the room as the dancers teetered back and forth from one side to another, one raised platform to the next.

Another creative element that felt new to me in experiencing Jennifer's work was the very physical incorporation of set. The space had been molded from an open gallery in a multi-artist studio building (a very ingenuitous find for a performance location) into a veritable adult playground. While the ramps and platforms and walls were stark white, they very much created a simultaneous sense of obstacle and play, speaking to the concept of the work. They provided complicated and intriguing surfaces for not only the dancers to experiment with, but for video projection experimentation as well.

I'd like to come back to those stunning dancers. These performers were very much in it in self and their group while also connecting with viewers in a way that felt genuine and of them moment, rather than put on or directed as clear audience engagement can sometimes feel. They were raw in their physicality, attentive in their listening to the sound, each other and the space and generally just a kinesthetic thrill. Of particular note was the solo section performed by Mirabai Miller, through which she twisted to, accented and offered question of a segment of spoken text addressing the course of self development and internal and external perception. With a wide range of physicality and dynamic in both choreography and performance, this section is still imprinted on my mind days later.

As a whole, Reflection House was an intriguing next step in the formation of Glaws' artistic voice, and one that I'm likely to continue pondering. She weaved together a great deal of production elements in a way that they felt cohesive and fully-supportive of her exploration, yet left me with unsolved inquiries about the sense of "selected and collected identity" it got me thinking about and feeling.

Sunday, March 11, 2018

Dance to the Music

I had the pleasure of hearing live music TWICE yesterday, both somewhat unexpectedly.

The first time was at an Intergenerational Dance Hall put on by Twin Cities-based organization Kairos Alive! They have over 20 years of experience putting on events that welcome people of all ages, backgrounds and experience levels to enjoy dancing with one another (thus the title). I have been curious about checking this organization out, but didn't get to it until it was on my list as an evaluator for the Minnesota State Arts Board. I'm now feeling really sorry I haven't gotten to one sooner: it was incredible.

Artistic Director Maria Genne, who was the primary facilitator, made a comment to the group about halfway through that folks used to dance together as a regular pastime and that this group is working to offer that opportunity once again. It really got me thinking again (I believe I think about this on at least a weekly basis) about how elements of popular culture have their hey-day and then become niches to which people dedicate themselves. I'm sure there are things that fade into complete obscurity, but it seems to me that for the most part, things find their dedicated audiences beyond their time of popularity, and live on with those folks.

While it makes me sad when I think that social dance has in certain ways "fell victim" to this, I'm trying to encourage myself not to see it that way. Instead, I'm working to reframe it in my mind to understand how such intergenerational dancing, led by a shared set of accessible knowledge for each type of dance, is finding it's own niche home, just like swing dance.

Reflecting back on the week, I'm proud that I made it to the swing dance, went to the Intergenerational Dance Hall and heard music there, AND out at Day Block Brewing for a friends birthday. I chalked up to two social dance experiences and two live music experiences in one week! AND I danced my booty off at Pigeons Playing Ping Pong last weekend too. ALSO - this week will end up being a two dance show week as well, having seen St. Paul Ballet last night and seeing Jennifer Glaw's Reflection House today. It's ridiculous to me how hard it can be to hold yourself accountable to doing things you enjoy, just because they require an interruption of habit (or perhaps more like it, a building of habit around them). Getting off topic. Just glad to be holding myself accountable to these New Years Intentions/ Desires.

Back to Kairos/ the swing dance. Both of these events had very real audience numbers. Beyond that, they were both genuinely diverse in so many ways. I opt to say "genuinely" because sometimes you can feel when it's been somewhat forced, an achievement of an organizational goal rather than a result of honest to goodness interest in the programming. Both these events had genuine-ness dripping off them from everywhere! It took me a little time to warm to the Intergenerational Dance Hall, as it started with really simply prompts for the kids in attendance (which was totally appropriate to the situation). It took me until getting to my car to realize that starting that way not only was the right accommodation for their audience that day, but also allowed the facilitators to build the entire thing up in energy so that by the time it came to a close, we were bursting out the ceiling together in joy.

And to social dance to an ensemble of INCREDIBLE live musicians at 10am on a Saturday (not to mention in the American Swedish Institute, a cultural gathering place I've never been to, and with such a diverse group of warm and wonderful strangers to boot): downright magical. I sincerely cannot WAIT to go to another one of Kairos' events. In fact, I'm going to put them on my calendar after I finish this post.

My second live music experience yesterday was listening to OVRFWD at Day Block Brewing, upon invitation from a friend for her birthday. It was a joy to stand and listen. Generally, I let my body take over and really get some dancing in, but this music didn't ask for that and that was ok. My body of course had it's reactions, they were just less pronounced than they might be with more "dancey music." I found myself listening in for the meter, for structure and improvisation, visually taking in the ways the guitar players physicalized their riffs. I also found myself describing the music like "acid jazz on metal," in response to my friend saying that it sounded like "jazz on acid." I'm not sure if this makes me pretentious or awesome or both. Probably both.

Anyway, I just really enjoyed my time standing (and swaying a bit) and listening. It gave me a renewed respect for the standing (and swaying) folks I often look at and wonder if they are having any fun. They are. The fun is just happening primarily in their heads. I think there is something to be said for letting the body take over, but I also think there is something to be said for being so focused that the body is taken in more stillness.

I had a lot of other things rolling around in my mind this morning (looking at differences in loss, between now and when I was much younger, thinking about lifestyles in different areas of the country, seeing the bits of quirk that poke out of my mostly pristinely-organized and streamlined home as a physicalization of my approach to artistry and movement - cool and confident and reserving quirk for when it's most effective), but I'm feeling satisfied with what has come out (and hungry!).

Looking forward to more viewing, doing and hearing of dance and music, starting with Jen's show in a couple hours. perhaps the house session tonight and They Might Be Giants on Thursday with Kris!

Monday, February 26, 2018


I think there is a major difference between "settling" and "finding flow."

Flow changes direction, but does so in a steady way. "Shift" almost sounded too stilted, like 'making something happen.' Groove sometimes feels like it can imply a sense of comfort, which is good in the right amount. Comfort, without complacency. Flow.

No wonder there is thing called "the flow arts."

Motion, groove, direction change with a sense of steadiness.

Being able to find balanced footing on the deck of the ship, no matter how the tides turn or the ship is chosen to turn.


Sunday, February 4, 2018

NYI February Check-In

Vitality/ Presence
Purpose/ Intentionality
Contribution/ Embodiment


Presence (Groove/ Connection/ Responsiveness/ Playfulness)
Intentionality (Genuineness/ Curiosity/ Kindess/ Simplicity)
Embodiment (Reflection)

Desired Experiences:
social dancing - swing and house
live music
tap classes
African dance classes
research & performance-reflective writing
physicality every day

I can direct myself more carefully when it comes to several of the above: I intend to go swing and house when Contempo rehearsals are over. And I need to hold myself to that! I just reached out to friends about which live music alert systems they use, so I'm working to better my awareness with that. I intend to get going on class better also, now that my extraneous teaching obligations are over. That said, the classes I want to attend are often at night . . . a good excuse. Whitney often has Saturday classes, and I need to haul ass to those.

Cooking is going ok. I do want to hold my flame more carefully with research (social dance - what does it look like today?!) and writing after I see shows. And yes, physicality every day. I DO get it every day, but I'd like to push more carefully toward the circuit workout on days I have a lot of rehearsal or teaching and a class on the days I don't.

Good to check in.

Wednesday, December 27, 2017

This Year Into Next Year Process/ New Years Intentions 2018

*This process is set to my "This Into Next Year Reflection Songs" list on Spotify*

As I typed in the phrase to access this blog, I for the first time realized how somewhat ironic it's title "Planned Movements" has become for me. I suppose I can consider it on it's flip side as a reminder that no matter how hard you try to create all-encompassing plans, there are so many factors that are outside your control. At this point, wouldn't change it . . . too much history :)

New Year's Resolution:
To not be drunk already at 11am on St. Patties . . .

Seriously though . . .

I am here to evaluate last year and move into next year. I'm doing this by answering all sorts of sets of questions and going through all sorts of exercises I've created and come across and . . . in the midst of a couple, already feel overwhelmed. I'm going to take a leaf out of my simplicity interest and do this instead: condense it all into a set I like. I think it's important to identify that much of this material comes from that of others that I've come across throughout my years of doing a this into next year think-out. So here is that list of questions:

This Into Next Year Reflection Questions:

Based on My Priorities:


What did you experience this year?

  • Traveled to Greece and the UK
  • Produced two productions of all my own choreography, creating 10 new pieces and reviving 6
  • I did that damn show - that Charlie Brown Show :)   It got mentioned in my 2017 prep, I see. It had been mentioned as 'a crazy idea,' and I DID IT!
  • Worked with 5 new dancers
  • Produced year 9 of Rhythmically Speaking, funding and supporting myself and 6 other choreographers creating work in American vernacular dance
  • Completed my first season as a performer with Contempo Physical Dance
  • Donated 1% of our combined income to artists, arts groups, disaster relief groups and civil liberties groups who's work we respect
  • Completed 10+ teaching engagements through the Cowles with dance learners from the age of 5 through senior citizens, exposing them to the rigorous joy of American vernacular dance ideas
  • Taught two more semesters at Winona State University, exposing college students to thinking critically about dance and helping them expand their physical practices
  • Worked my 10th Minnesota State Fair
  • Supported and felt supported by my family/ies, chosen family included, when tragedy struck in personal life
  • Attended and presented at my first National Dance Education Organization conference, offering to my colleagues from across the country information about how to consider their jazz dance teaching through a lens of community development via improvisation
  • Mended a relationship with a long-lost friend
  • Supported a friend by working in his coffee truck various times throughout the year
  • Completed my 4th season as an ushertainer for the St. Paul Saints Baseball Entertainment Team
  • Saw Radiohead live for the 1st time (wanted to list this as a hard and fast goal last year, didn't think it would happen so I didn't, BUT IT DID!)
  • Made my 2nd customary annual visit to Colorado to visit grad school/ friends
  • Saw a lot of other great live music (Hanson, Parliament Funkadelic (twice!), Hayes Carll, Rebirth Brass Band, OK Go, Paul Simon, Chance the Rapper, Sylvan Esso and several other trappings and local favorites), making good(er) on an New Years Intention from last year
  • Continued my own journey toward simplicity, editing and accepting shift
  • Attended my 2nd magic convention (in Lexington, KY)
  • Had several great meetings with artists I respect to ask them about their hustles as I work to better my own, recognizing the idea "Don't try to become 'the best,' become yourself"
  • Continued my physical therapy and personal fitness journeys
  • Took a course in meditation
  • Went to Rollergirls with Reilly!
  • Continued my Zenon teaching, and a second go with their Zone program as a choreographer
  • Attended and taught at my second ACDA as a faculty member
  • Started learning how to dance with fire for the 2nd Pride show I've done with Enticing Entertainment, and did a couple other fun gigs with them
  • Went to Valleyfair with Dave for my 30th birthday!
  • Choreographed a piece for the University of Wisconsin River Falls, among several other fulfilling freelance teaching and choreography residencies
  • Increased empathy, ability and desire to listen better, ability to manage my own expectations, recognition of the beauty in every day and building the ability to make every day special
  • Built capacity to recognize that humans are all learning the same lessons in different ways
  • Get better at employing the question "What else would I be doing?" at the right times
Significant Vitality (Body-Mind-Soul/ Financial/ Travel) achievements this year? I bettered my understanding of my priorities and how I use my values to live them, paid off my student loan/ helped hit our emergency savings goal, and continuing to investigate my interests in simplicity and vitality practices.

Significant Purpose (Relationships/ Passion/ Growth) achievements this year? Supporting and being supported by family and chosen family during the aftermath of tragedy and got better at recognizing when I needed to commit more time to important relationships (and which relationships are important). Regarding work/ passion, as for me these are very intertwined, I produced a project I've been dreaming of for many years, and did a lot of great thinking and actioning on building better systems for supporting my work. I feel that I gained an even better sense of who I am as an artist and am living that actively as I continue to be curious about it all.

Significant Contribution (Encouraging embodiment-connection-play/ Donating) achievements this year? Donating 1% of our income, woking consistently with a group of dancers interested in the same aesthetic priorities and drawing audiences to share that with, engaging many students within my artistic values of embodiment, connection and play.

What do you want to experience next year? Social dancing, time with friends and family, increased levels of fitness, live music, live dance, cooking and continued nutritional research, performance production. I'd also like to continue experiencing my increasing sense of comfort with creative self and sense of respect for the creative selves of others, continuing to reach out to those outside my own purview to keep expanding my range AND sense of self.

How might my vitality improv going into next year? Continuing to explore how I can better my sleep and my diet. I also want to keep pledging myself to having a purposeful fitness experience (outside of my walk) every day on top of rehearsals, whether it's a yoga or dance class on a day I don't have rehearsals, or a circuit workout on days I do.

How might my purpose improv going into next year? By performing and choreographing more, which I am taking tangible steps toward (overlapping project planning, seeking existing opportunities for choreography, building a regular generative practice in 'out-of-rehearsal' times, building support structures that work). I also want to continue writing reactions to my professional and social dance and music experiences as a way to keep my research and critical thinking mode sharp, as well as for potential fodder for deeper writing practice at another time.

How might my contribution improv going into next year? Looking at our intention to donate 1% of our annual income on a more meta scale earlier. I also wish to continue actively practicing my "inner smile" (Taoism) and living my values.

This Into Next Year Values:

Presence (be here)
Intentionality (on purpose)
Embodiment (live)
Simplicity (simply)
Kindness (with kindness)
Curiosity (be curious)
Connection (seek connection)
Responsiveness (and respond in it)
Genuineness (with your genuine self)
Groove (find your groove)
Playfulness (and play)
Shift (and shift in it)
Reflection (reflect) (repeat)