Courses of Jumble

'Just this' forever? I have a particular friend I think of often in that regard - he moved down to Austin after spending his first summer out of college home, and I am pretty sure he is doing in Austin precisely what he did here - barely worked and had a lot of amazing adventures. While amazing adventure is for sure a good reason and a good thing to do for awhile, I think it runs out for people who are purpose-driven. He is a really conscious, smart cookie, so I have a feeling that this kind of lifestyle will not last for him forever.

I have to admit that I am envious of that- ie getting out to unfamiliar places and experiencing - but I am coming to realize that I can do that without moving or having it work related. I think I have been hesitant to accept that, because I do not want to become the kind of person who works a grueling job she hates to get to vacation time so I can flee my real life. That has been a struggle. However, I am at the same time realize that a lot of people that I love are at home, and I do love the Twin Cities. So maybe for me, that just means taking part in fulfilling work here, a place I love, and then taking the opportunities it allows me, or social obligation allows me, to go on adventures as I can.

Beyond that; confusion. It feels like a matter of trying to decifer what things I want to move toward. I feel like last fall, I had strained the soup for the big objects. Now, I feel like a big pot of soup. Yes, soup.

In a more defined explanation, I have realized that I have a whole lot of interests that are not necessarily going to be catered to should I choose to go for a Dance MA. In the midst of thinking further about all this, I started thinking about and compiling information on other programs that might suit my specific interests, and have come to various different ideas; Public Health, Event Planning, Venue Ower, etc. I have realized that the one common thread holding all my interests together is my desire to connect people to one another physically and socially. It bothers me so much that more and more of our leisure is becoming remote and static, and I want to be a part of the movement that encourages people to enjoy being physically active and social. I have tried to boil this down into a statement of sorts;

To first understand and draw conclusions, and then make use of data and possible new research to encourage abstract movement (social dance) and somatic practices as leisure/ lifestyle options that provide mental and physical health benefits. Using these ideas as an alternative to current public health outreach, which is very exercise and diet focused, can engage new audiences in a time of crisis physical and mental health crisis, which has been encouraged by our work and even our play developing to require less physicality and social interaction.

In the midst of all this future change thought, which is both confusing of course but also exciting, one thing that has stayed consistent is my desire to perform and choreograph. I am seeing a day-time, money-making career shift as an opportunity to work less for more money so I can spend half the work week on whatever that is, and the other half on my work as an artist.

I am grateful that at least that desire has not changed.

Scheming

Thinking the thoughts, creating another show in the brain . . .

Connect it all, or let it be pieces?

- Objects and Memories?

- Lotsa stuff?

New: Black Joe Lewis "Sugarfoot" GROUP/ Dosh - something off Tommy "Town Mouses"? (beginning of object and memory exploration?) DUET / Abdullah Ibrahim SOLO?

Old:

1st half - one new, couple old canned music

2nd half - all new, live music? - Nathan Miller and the Unstoppable Company?

Where: Bedlam? Lowry? Cabooze?

What to call it: Erinn Liebhard/ TurnnStyle Dance?

When: Mid/late February? (10 months from now, 4-5 months from Principles of Pulse show)

Music You Can Eat

The post below was written for the MN Jazz Dance Collective blog and newsletter (www.mnjazzdance.wordpress.com).

As a dancer, more often than not, dance concerts trump other forms of live entertainment when it comes to what I most frequently attend. While I whole-heartedly enjoy my outings to see works of dance art, I occasionally find myself wishing I could be better at supplementing my live-performance diet with some more theater, music and other such stage revelry. As a performer, creator or appreciator, variety can only benefit your eyes and ears, opening them up to fresh ideas and new ways to see things you deemed familiar. This weekend, I put this wish into action, and ended up experiencing one of the most amazing live music shows of my life thusfar.

I attended Dosh at the Bedlam Theater, and my experience was akin to the strange title of this post – music you can eat. To be more clear, this was music that you don’t just hear; you experience it. It felt so thick that I could reach out and grab it, eat it, and enjoy it’s taste. The element that made this music so tangible to me was it’s depth. Dosh, a one-man-band of sorts, is a wiz-kid when it comes to creating layer upon layer of sound, adding new patterns and rhythms and accents at every turn. Utilizing both traditional jazz sounds and instruments, from his savvy on the piano to quality guest-chops on the saxophone, he also pulls heavily on ideas of electronica and free jazz.

I could go on, trying my best to be a music critic, but I will spare you and cut to the point; this concert got my head spinning so creatively crazy that I felt like I wanted to stay up until 4am just to process my thoughts and feelings. Of course, I fought that urge and wrestled myself into bed, but my head remained excitedly swimming through a pool of creative ideas and general happiness.

Have you recently had an amazing, moving live music experience? What were the elements that made it unique and incredible? How did you find out about the artist? How did the experience inform you as a creator, performer or observer? Comment below if you wish!

Experience as Empathy and Patience

Yesterday was among the more annoying days I have had in some time.

This day was filled with running errands, the kinds of things that people do who do not see anything wrong with prioritizing taking care of themselves (ie normal people and not me). Stopping at the pharmacy, making a deposit, filling up the gas tank, getting the driver's license renewed, stopping at the post office, getting the car washed, calling in to set up a doctor's appointment.

Almost every single one of these experiences is set up in a way that is meant to be relatively convenient, yet every single one also had a road-block of some kind that kept it from living up to this idea. Let's begin with the pharmacy; I stop to pick up my prescription, which I had recently switched to this pharmacy, as it is very close to my apartment, and family owned. Seemed like a nice little place, and a good opportunity to support local business. Short story kept short, when I politely questioned why only one month had been filled and not the three I am used to, I was made to feel stupid for not knowing why and for inquiring about it. The tone of voice in which I was addressed made it feel like the answers to my questions were obvious. Not very nice treatment for when you feel like you are doing a small business a favor by switching from big (and in that way, often much more convenient on many levels) to a small. I guess this situation is a good example of the fact that small business is not always better than big, and this is a black and white I should allow to grey a bit more here and there.

Onward. The next stop was SuperAmerica. nothing 'out of the ordinary' to report here, so forward it was to the DMV. Yes, the Department of Motor Vehicles. I figure I am being smart by stopping in there around noon on a Thursday. Who could be there? Just a couple people skipping over quick on their lunch break, right? No sir. The place was packed (I would insert 'as usual here,' if I had only had the foresight to just relegate the DMV to its proper place as a constant rat race). While my number did come up rather quickly, the amount of time I had between pulling it and getting called to the counter was barely enough for me to find the proper form without assistance, let alone get it filled out. In the midst of all the hubub and shuffling, my picture ended up 'distracted third-grade kid,' but am I really going to ask for the gal to take it again? Even if you are vain, it is not the common chump who seeks out opportunities to prove it. I guess my ID will just have to feature, until I am 30 and have to renew again, me looking like a cotton candy truck just pulled by.

The rest of the day's experiences included a grand total of about an hour and a half on the telephone, skipping between the insurance company, the doctors office and the physical therapy office, all of whom seemed to have someone else to refer me to and different ideas of what information I needed. Who knew that you had to make so many calls to so many parties who want so many different things, all to make a single appointment?

This is where purpose comes into this entry and complaining slips away. Who knew? A lot of people know, and that is something that a mostly-healthy gal like me often has the fortunate situation of being able to forget. I so rarely have to deal with the healthcare system, I find myself quire removed from the every-day realities of getting it to work for you when you are in need. I am not touching upon this as an entrance point into further complaint, this time centered around healthcare, but rather, as a way to suggest that people could use some more empathy in their lives.

I was entirely frustrated and practically pulling out my own hair after a series of transfers and disconnections, but somewhere within the frenzy, it clicked; though going through these experiences is in no way pleasant, not everything in life is. Additionally, there are plenty of people who have to deal with these 'unpleasantries' on a daily basis, and many through no fault of their own. While I can't say that I would want to spend an hour and a half on the telephone trying to make an appointment every day, I am realizing that there are some people who have to do this, which is a good reminder of both exercizing patience, as well as trying to generally give people the benefit of the doubt - who knows, among the people you pass each day, who has had to deal with something as frustrating at this, or worse?

Additionally, this negative experiences throughout the day served another purpose; contrast. While a good portion of the day did in fact annoy me as I previously suggested, there were a couple situations that made me smile and appreciate the little things. The first was my stop to the post office. I had already had a couple of difficult encounters previous, and while this experience may have been as pleasant as it was because I was ready for something on par with my earlier run-ins, I'd rather chose to believe it was so because the person I interacted with was a good one. I came in to drop off a change of address form, and had a couple questions with it (because honestly, can I really do anything without accompanying it with some inquires? It's just not my style :) ). I was prepared to once again be made to feel stupid, but experienced quite the opposite. The counter worker, who has been there since at least when I started working at Muffuletta and most likely much longer than that, was simply just knowledgable and happy to share that knowledge with me. I have interacted with her several times before, but there was something just releaving about her earnestness this time. I walked out of the post office feeling refreshed, my sense of good in people renewed.

The second experience was another that was certainly not out of the ordinary, but well-needed and well-placed within a day that had been full of the opposite; it was just a nice, pleasant check-out guy at Rainbow. I am not saying we had a full-blown conversation (though I'd sure be happy to - I often notice myself wishing I could learn to stop talking once in awhile), and the words exchanged were inconsequential - I cannot even remember what they were, less than 24 hours later. What I am saying is that his amiable demeanor was refreshing, and that these little occurences really do make a difference in the quality of how we experience and enjoy our time within a day.

To conclude, in less words, such daily encounters are important, and not just because they are a result of necessity. These encounters remind us to empathize, to be patient, to give the benefit of the doubt, and to enjoy the casualities that are simply refreshing. And if nothing of this sort comes out, at least you have some good grumblies, which go well shaken and served in the company of friends who work in customer service.

Observations Makes Arts's's's

"The seeds of an idea you planted long ago are about to blossom."

These are the kind words offered by a fortune cookie message that found its way to me long ago, then eventually found itself pasted to the inside of my journal, to live there for purposes such as this.

I sure hope that fortune cookie is right! I have been noticing things across the span of several months, when walking, out to eat, driving, running errands, watching TV and movies, chatting with friends and strangers; living, it seems. I was pondering this morning that all of my observations seem to be very people-driven. Interesting realization, considering my last big spewing of words onto this hyper-paper. Despite this realization of the importance of and quality within people, I find that I am desiring to go beyond my natural tendency to be drawn to people alone when it comes to the creation of comment through movement.

That being said, I created an inventory of ideas, both to see if it really is just about people and if there is anything worth really digesting, as well as to see if I have noted other infuences within my observations, all for the purpose of trying to make movement worth watching. While I was going to share this in a listed posted on this wall for all, it felt funny to me to simply free-for-all my ideas and how I got there, a worry rooted not in the idea of stealing, but more in the idea that I want to tell people these ideas through the dances I create, not a list on my blog. So indeed, this list was created, but is to be locked under the protection of my many layers of organized digital folders.

In the process of creating said list, I did start to notice a key; all actions, and then I suppose general currents within the world, are created by the actions of living things (people or animals), but their widespread affects become their own concepts. Therefore, it is indeed true that everything I notice seems to be "about people," but at the same time, people are just one part in a chain of ideas, depending upon what you prefer to focus upon within a given concept.

Another factor playing into my fear that I only ever work off 'people' is the fact that the formation and performance of my comments (my art, if you will) are completely centered around and dependent upon people. This is probably an element of why I have been drawn to dance and often find it difficult to be drawn into painting, something that I find awesomely reflective of my general existence as a 'people-person.' However, I am also realizing that this current is part of what makes consistently creating as a dance artist difficult. Sometimes, one is just not in the mood to be with people and converse, etc, or simply would rather just be alone (and we all have those moments, regardless of how much we love people). It is very difficult to respect such feelings in yourself when you are feeling the pressure to create consistently within dance - unless it is a solo, how are you supposed to create a piece that can be performed when you do not feel like working with people? I have this hang-up that it is assumed that unless you are shooting out work (quality aside) like you shoot out .....well...... I'll let finishing that analogy slide ...... that you are not actually an artist.

I used to wonder, at the beginning of my undergrad, why so much time passed between my professor's shows. After working at it a bit myself, it has become obvious; if your only task in creating work were to generate ideas and choreography, your shows would be much more numerous. Some people reach that point, where they have a whole infastructure of talented people behind them, whose jobs are to get the work produced and out there. Some people never get to that point. The important thing to remember is that there is always a process (accompanied by some time) to get toward that situation, or at least a permutation therein that would still make you happy and satisfied.

It's About People

Similar words, from a couple respected people within the span of a few days, have caused me to think pretty deeply about the modus operandi and result of actions that people take. Previous to the wise words of these respected people, my easy answer would have been something to the tune of "my actions are usually to further an element of my career," or "to get everything done in time," the later being particularly true when it comes to how I operate on a daily basis.

My triggers to think about this came from advice in two different scenarios - the first from a satisfied reader of Seven Habits of Highly Effective People, and the second from a discussion about a dance piece centered on the idea of how, at the metaphorical end of the day, life is really about people.

While I have not yet had the chance to read the afore-mentioned book (though I plan to now), I did connect right away to the choreographers explaination for how she arrived to this conclusion, and why she wanted to showcase it in a dance. In explaining the piece, she started by saying that it is all too easy for one to get caught up in the obstacle course of daily life. Though the course changes form with each phase of life, offering new challenges with each new chapter presented, there is one constant; there are always too many important things to get done on time, in order to stay on top of things and be successful.

The key to analyzing this assumption is pondering what it is that drives us to get these too many things done. Yes, 'too many things' was followed by 'to get done on time' and 'to be successful.' This is where I haved stopped in the past, in trying to figure out why I operate the way I do. Go further. Why is it important to get things done on time and be successful?

First, I draw up the idea that these things are important because we think that what we achieve individually validates our existence as humans, our purpose for being on earth. However, this is not specific to you alone, one person at a time. A factor of what makes the world truly interesting is how we are all connected to each other in some way - My purchase of coffee beans creates revenue for farmers in Ethiopia, that farmer in Ethiopia is then able to invest in cellular technology developed in India, so on and so forth. Though my example is strikingly similar, I am not talking about glogalization here. I am talking about how our personal actions, in the long-run, really are about how we relate to other people, and the importance of those connections.

I'll make the scale a little less worldly - this time, I'd like to suggest that the quality attention and intention you invest in your interactions with co-workers is just as important as the quality you invest in completing a project. Or; the quality you invest in interacting with a loved one is just as important as getting the house clean. When it comes down to it, the house, pending fire or other disaster, will always be there, but your loved one will not. I do not say this in a way that suggests people are important only because they have a shelf-life. Rather, our abilities to interact with people in ways that we cannot with a broom are precious, and should not be overlooked or sidelined due to tight scheduling.

This idea is something that I can easily and joyously understand, but will be a challenge to put into action. I thrive off the necessity of getting numerous things done in a simultaneous fashion. In fact, a big ponder last month was whether or not I create tasks to make myself feel like I am on top of things and going somewhere. These things said and considered, I do not desire to cut out any current projects from my life; after evaluating, I realized that I really DO want to be doing nearly everything I am doing, outside of tasks that are simply necessity for sustaining of life (i.e. day-job-to-make-enough-money activities). Despite being happy with the fullness and variation of objects on my plate, I have realized that it could be beneficial to reconsider how I go about . . . eating them?! Ok, cryptic, stick-to-the-analogy tools aside, I have realized that I could be more conscientious about how I interact with people.

In my heart, I am fully aware of the fact that people are the true driver of what I do, but that idea often stays a bit buried when I am trying to accomplish a task. In other words, I have a tendency to sideline people or rush through an interaction without noticing because I am so focused on the task at hand. After being triggered by two respected people to think more about this, I plan to be more active in supporting quality within my interactions as they happen. While I have never had difficulty expressing how grateful I am for support and interactions I experience after they happen, I could stand to be in the moment more on such things (well, most things, really :) ).

How will I do this? Unfortunately, there is not an instruction manual (that I know of, anyway), because I would sure love that. However delightful a manual would be for me, this one is the kind of idea that seems to be different for each person to put into practice. I am going to begin with the simple idea of trying to be actively conscious of how I interact with people, and I will go from there.

My 'at heart' understanding of how anything I do, though filtered through the achievement of personal success, is really for the purpose of connecting with and supporting my loved ones and people in general. In my case, the teaching, performance and creation of dance are conduits for the development and passing on of my ideas about the world, most of which are meant to reach out to people and ask them to see and feel the world more actively as they live in it. Hopefully, after having pondered all this, I can work toward always treating my daily interactions with as much purpose as I do the consideration of and acting upon my internal drive. When it comes down to it, these two concepts share a common source; people.

From Ear to Eye: Ideas to Aid Jazz Music Lovers in Viewing Jazz Dance

Written for the August 2009 edition of CODA, the Twin Cities Jazz Society newsletter.

Saxophones, trumpets, drums, dancers . . . the beginning of a large list of musical
instruments. Wait a second – dancers?! Yes! Dancers should indeed be a part of this list, according to those who study and practice jazz movement. This sentiment is not as uncommon as one would imagine. Lovers of the jazz aesthetic can agree, regardless of whether they prefer music or dance, that the two media are inherently and beautifully connected to one another for many reasons. It is these elements of connection to and respect for the music, versatility, embracing humanness, and most importantly, rhythm, that provide the common ground for jazz
music lovers to view and appreciate jazz dance.

One of the most satisfyingly simple and authentic ways for both a dancer and a
viewer to get involved is finding connection to and respect for the music. Purposeful use
of and genuine connection to the music is a hallmark of quality jazz dance. Many jazzers
enjoy dancing socially just as much as they enjoy dancing in a concert setting, and the
common thread is music. Jazz musicians savor a close relationship between ears and mind, and by throwing in the additional element of the eyes, jazz dancers develop a keen relationship between the operation of the body and the act of listening to music – they create a visceral absorption of and response to music.

Another factor that can be taken into account by jazz music fans watching jazz dance is the concept of collaboration. Both jazz dancers and musicians have the distinct pleasure of working in tandem with several elements at once to produce a unified whole. Varied instrumentation (be it several dancers with their own distinct movement style or several musicians with their own distinct sound) creates numerous possibilities for unique and satisfying outcomes.

Jazz dance and music also share in the joy of improvisation, another element that encourages the creation of fascinating chance encounters. The jazz aesthetic also fosters versatility, an element that keeps jazz-interested folks constantly wondering what could be done next. Jazz music has fused with pretty much every other form of music, and if it hasn't, it can. The same idea goes for dance – jazz fusions have created seemingly endless possibilities for movement and idea explorations. Truly understanding the basics of this aesthetic, such as musicality, rhythm, honesty in emotion, and collaboration can provide a solid base for successfully and whole-heartedly catapulting into new musical and movement territory, fostering a sense of variety not

Jazz dance is unique from other dance forms in the fact that it often seems to be simply celebrating the music. seen quite as much in other forms as it is in jazz. In a solid jazz-dance concert, the appeal of this idea can often be seen rather well through presentation of a wide range of movement styles and music choices, allowing the viewer to enjoy several styles in one
sitting. Jazz also allows musicians and dancers a sense of emotional freedom. As a vernacular
form from its roots, rather than trying to rise beyond it (as in forms such as ballet), the
jazz aesthetic asks its participants to embrace and showcase their humanness by using
common energy to emote. Jazz dance is unique from other dance forms in the fact that it
often seems to be simply celebrating the music. If one takes into account the inherent
humanness of dance and music existing as result of one another, this dance already has its
purpose. This incredible humanness alone is enough to create purposeful, satisfying,
engaging and visceral dance, particularly when matched with just the right tune.

Finally, there is rhythm; Our body runs on the rhythm of our heart. We make rhythm with
our bodies through the creation of music and of dance. This bond is a strong one, and it
comes across quite clearly when experiencing a well-thought-out collaboration of jazz
music and dance. Regardless of the music choice, rhythm is ever-present in dance. It is simply up to the choreographer and performers regarding how much they would like to acknowledge it. People who feel drawn to jazz often find rhythm to be the most essential element in their medium. Sharing interest in this creates a common thread for jazz musicians, dancers and viewers to understand and appreciate one another’s pursuits. Connection to and respect for music, collaboration, versatility, embracing humanness, and rhythm provide a common ground
within the jazz aesthetic for dancers and musicians to appreciate one another’s work.

The inherent and beautiful connection between movement and music, though elusive, gains
clarity when considering all that the two media share. Keeping this view in mind, it
seems only natural that dancers be included on a list of musical instruments. Operating
from this standpoint, jazz music lovers will be on just the right track to take a leap into
whole-heartedly viewing and truly enjoying jazz dance.

Erinn Liebhard earned her degree in dance at the University of Minnesota in 2007. As a
choreographer, her work has been presented by the Eclectic Edge Ensemble, the Red Eye
Theater and the Lowry Lab Theater in downtown St. Paul. Additionally, her work has
been presented by Dancer's Studio West in Calgary, Alberta, Canada, as a part of the
Alberta Dance Explosions Festival 2009. Her interest in the development of jazz and
vernacular dance recently took her to Calgary to study extensively for a year. She and
collaborator Heather Parker are co-producers of “Rhythmically Speaking: Seven Jazz
Perspectives From Emerging and Established Choreographers.”