Image by Jonathan Hsu

This weekend is a celebration. The 35^th Anniversary Gala brings together artists who have been integral to the festival’s trajectory, replenishing and reinventing the spirit of BDF summer after summer. The celebration centers on the pillars of BDF, Marcy Plavin and Laura Faure, the two women responsible for nurturing the festival into what it is today. These indomitable women pioneered a community bonded by a love for movement and a commitment to cherish the individual, together. To Marcy Plavin, the founder of the festival 35 years ago, we say goodbye, we lovingly reminisce. To Laura Faure, the director of the festival for the past 30 years, who we lovingly celebrate, we say good luck. To both, we extend our deepest gratitude in the best way we know how: moving together.

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It feels only right that Bebe Miller returns once again to the festival, as she is the artist Laura first brought thirty years ago. This weekend she performs “In A Rhythm,” an excerpt from a new work in process. Miller and longtime collaborator Angie Hauser come together for an intricately woven improvisatory duet that reads like a conversation. The two women navigate a relationship rooted in language and physicality, juggling who is speaking and who is moving with care and reactivity. Their presence is consuming, their focus palpable. They are firecrackers, astutely perceptive to each other and the audience, continually nourishing the experience of making and doing with the experience of being watched. It is a sophisticated game of freeze dance, one with malleable rules and a buoyant sound score. The tone of reactivity is set from the beginning, when the two women are revealed onstage, both listening to the same device. The audience cannot hear, only the performers can. We are privy to this mystery only when they speak, Bebe and Angie, when they are awoken from their own listening, speaking phrases one can only assume have just been placed in their ear. The duet, although from a new work, is heavy with history, performed from a deep place of knowing, making the unknowing so satisfying.

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A Maine native, Riley Watts makes his festival premiere alongside longtime festival musician, Carl Landa. “Tonight’s Pattern” comes and goes in a flicker, ever-shifting and constantly renegotiating. It is an improvisation reliant entirely on memory and the present moment, emphasizing surprise, recognizing the sensation of being watched, and remembering the night before. Watts responds to the moment, constantly folding in on himself, never collapsing but expanding outward. It is a stream of consciousness, a deeply inquisitive investigation of dance thinking rubbing up against performative circumstance, demonstrating a technical prowess and an agility of thought. Through his physicality, you recognize the power of his mind. Watts expands into a superhuman and flashes into a firefly, redefining the trajectory of his solo, entirely contingent on this stage and this night. It is in the doing that the idea comes. The first move starts a journey, a spiraling and paradoxical train of thought that can only be resolved through the body. Circumstantially intuitive and technically stunning, “Tonight’s Pattern” is all consuming; inescapable and fully intangible.

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The rest of the program is characterized by thought, play, and investigation. Larry Keigwin opens the show with a playful solo to lively music that invigorates the space. Patrik Widrig’s “…And Still Doing…” is dominated by a sense of urgency in physical intent accompanied by a strategic perplexity in spoken word. In “Dr. Pearson’s Guide to Loss and Fear” Sara Pearson sketches an autobiographical narrative emphasizing didactic textual impetus in a rooted bed of movement sensibility. She loses track and tracks her loss, her fear. Tania Isaac’s words vibrate through the theatre and white crumples hang from the ceiling as she navigates the space below, excavating herself between her words and her movement. Doug Varone’s poignant duet with Natalie Desch illuminates the facets of a deeply personal relationship. The evening closes with a group work created by Michael Foley on students of the festival, an intricate weaving of partnering and sensibility, a love letter to his mentor Marcy Plavin and friend Laura Faure.

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This show is full of love; love for dance and for this community. This incredible lineup of artists has come together to celebrate and honor this incredible world that has been created at the Bates Dance Festival. An evening of opulent and evocative work, these artists bring with them a history deeply influenced by the festival, by the two women who stand as pillars. Before, during, and after the show, we find ourselves returning to sentiments of gratitude. These sentiments live deeply within us, they always have; sentiments we sprinkle through the movement of our lives, reinvigorating the spirit of the Bates Dance Festival everywhere we go. For that, we have Marcy and Laura to thank.

This post was written by Phoebe Ballard. Phoebe is the BDF social media intern for the 2017 summer. 

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Within the first seven days of the Professional Training Program participants had seen two shows in the Schaeffer Theatre, had taken up to twenty dance classes, learned more about zoe|juniper in a show and tell event, participated in massage workshops, master classes, and panel discussions, auditioned for Michael Foley’s gala piece, jammed at the Contact Improvisation jam held by Nancy Stark Smith, and even hung out at the annual “Pants Party,” held by Melody Eggen.

Our daily classes, ranging from modern to ballet to creative process to Caribbean Dance Hall, have been lively and fun. Teachers strive to amplify community, which again and again proves to be a simple task, as students continually step foot in the classroom with that goal in mind. Openness and a willingness to try new things are staples of each classroom, a bolded point on the mutually-agreed-upon-but-never-handed-out syllabus. It is hot and it is sweaty, each space alive with the energy and heat generated in the class before. We are testing boundaries, redefining bravery, and emboldening each other, leaving a deep but fulfilling soreness in our bones, a soreness that makes it hard to sit down at dinner but a soreness that is the driving force bringing us back to class each day reinvigorated and reenergized.

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Contact builds community, and in this community, physical contact is key. Nancy Stark Smith led a masterful contact jam in Alumni Gym on Wednesday, which will be complimented by a follow up jam this coming Wednesday. At 7:30, participants filled the gym with their energy, and the rules of the space were established. No photos or videos, feel free to take it slow, invest deeply in your partner and the improvisation, you can dance or watch as much as you’d like, and, most importantly, no talking. Voices were absent from the space, amplifying the movement and making the room not quiet and not loud, but very full. Risk taking and human connection were primary, each participant navigating new bodies in a sea of support, both on the marley and off.

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The traditions begin to reveal themselves during the first week of PTP, taking the form of bonus workshops, panel discussions, lunchtime conversations, and, a true festival favorite, the “Pants Party”. Melody Eggen, our resident costume designer, brings a collection of wide-legged, loose, patterned pants, shirts, and jumpers, a tradition that has begun a festival-recognized-but-once-again-unspoken-dress code for BDF dancers and faculty. Gathering together in the living room of Frye House, people pick through, try on, and purchase brightly colored patterned pants that sprinkle Bates campus, bringing the spirit and magic of the festival into the dining hall, the quad, and the town of Lewiston. Melody’s creations live in the BDF Store for the remainder of the festival, so if you missed the party, be sure to head over.

The past week was full and set the tone for a great two weeks to come. This week, we have a flood of artists and alumni returning for the 35^th Anniversary Gala, which honors the legacy of both Marcy Plavin and Laura Faure and highlights and celebrates the eclectic and extensive history of the festival. The Musicians’ Concert takes place Monday night and each evening this week holds various activities sure to leave participants fulfilled (and slightly exhausted, but that’s exactly what’s expected).

This post was written by Phoebe Ballard. Phoebe is the BDF social media intern for the 2017 summer.

Scofield’s choreography is heavily influenced by her ballet training, upholding the technical prowess necessary to accomplish such feats, but breaking down the elements to find rhythmic and physical variance. Scofield’s visionary choreographic choices enrapture the space, sending dancers spiraling in very intentional paths coming into contact with one another only to find themselves alone shortly after. Trust is emphasized, blindfolds are worn, community is encouraged. It is rigorous and precise, provoking thoughtful inquiries and deeper thinking, a moving picture of brain, body, and being.

The movement is just one element of this performative expedition, wholly important yet only a piece. Juniper Shuey’s visual design gives a notion of roundness, centralizing the dancers and giving them boundless space within the performance area, allowing them to be fully and uniquely seen. A circular band of strings dangle magnificently from the ceiling, and beneath it, a warm ring imprints the floor – making these disconnected entities one – as if the band of strings had left this imprint, or the strings had risen from it. Shuey’s work hones in on center, centralizing and dispelling energy to the space and the borders, etching this memory within it, a space filled with dancers and audience members alike.

Washing over and padding the theatre, the work becomes even more enriched with aural movement and transposition. The sound for the work comes from traditions of Sacred Harp Singing, as does much of the inspiration for the work itself. The singing is live and allows audiences the opportunity to participate, mirroring the traditions of Sacred Harp Singing – in which it is not a performative act, but a ritual of participation. Local Maine singers and recorded sounds become atmospheric and resonate differently with each audience member, dependent entirely on their seat. It is rich and provocative. This, layered with Evan Anderson’s new compositions, heavily influenced by the elements of death metal, support the work, creating yet another unique and necessary entry point in.

“Clear and Sweet” provides each viewer with a unique experience from their particular angle. It feels like a hollow abstraction teeming with life. The choreographic, visual, and sonic elements come together to create a unique experience, one that examines ritual, redemption, and community, while highlighting and providing shifting points of perspective. It allows audiences the opportunity to be alone, together; filling a porous container that is constantly collapsing in and expanding out.

This post was written by Phoebe Ballard. Phoebe is the BDF Social Media intern for the 2017 summer. All images by Jonathan Hsu.

Image by Jonathan Hsu

“Aroundtown” is alive, constantly shifting, collectively together. It leaves a pit in your stomach, a yearning for more, a desire to go there, to do that. Grandiose movement phrases and daring feats of physical stamina mirror the sweeping tone of the work, finding beauty and intimacy in the mundane, determining and defining a sublime way of existing in the world. The music, new compositions by Liz de Lise, Sam Crawford, Zeb Gould, and Jeff Hudgins, are performed live and add yet another layer of robustly evocative humanity to this rich world. The process, which has spanned over two years, has been a constant practice of sorting through and seeing. This work, which is responsive to the current moment, thrives on a constant questioning of what the most important residue is, both within the company and within the world. The result is sensical and familiar, but all at once nonsensical and abandoned, presenting an honest exactness that is subject to change at any given moment.

Six dancers comprise the cast, the community. We see Kendra and Simon, Nik and Aya, Jordan and Jasmine. The work is contingent on them. We see these people, their whole being, not just their dancing body. Through the act of dancing they not only show themselves fully, they become themselves fully. The beauty comes with the togetherness of the dancers actively listening in the present moment, deeply sensing each other as humans above all else. Language is welcomed and necessary in this world, giving time and space to establish ideas and let them settle. Not just moving bodies, each dancer approaches the work from a deep place of truth, bringing with them their past and allowing it to mold their present. They support each other profoundly, sincerely, earnestly. Physical feats coupled with an unabashed outpouring of emotion create an emphatic world, wholly familiar and unfamiliar, sculpting a standard we, audience members and performers alike, relate to and strive for.

Image by Jonathan Hsu

The sense of community is palpable, a commonality in Dorfman’s work that is heavily amplified in “Aroundtown”. Impulsiveness stokes the dance, igniting performers and bringing them together, risking it all, physically and emotionally, individually as an entity. Touch is not just functional, it is an imprint left on each body, brought there physically and leaving a residue deeply infused with emotion. It is tender and it is human, it is all the things we cannot be alone. The work is constantly testing love and asking it to be real, not as a monumental or abstract idea, but as a glorious reality. “Aroundtown” functions as a real town, an enlivened community, the performers odd and model citizens. It is a thing everyone knows and recognizes; a folk dance we are all a part of and have different roles in.

This work is an astonishing and beautiful feat of humanity. “Aroundtown” is an alchemy of movement and language, calling upon familiarities evident in society to craft a world beautifully specific and universally recognized, held preciously in the bodies and spirits of the movers and in the hearts of the audience. It is something they (and we) do not get to realize unless we are together, and that doesn’t always mean in unison.

This post was written by Phoebe Ballard. Phoebe is the BDF social media intern for the 2017 summer. Special thanks to Kendra Portier and Simon Thomas-Train for their insightful words. 

Lida Winfield’s work, “In Search of Air,” has been performed across the U.S. over the past six years. This improvisational solo work falls within a tight structure with a set text, but still feels very much alive and malleable, as it shifts slightly with each performance, keeping the audience and Winfield curious and engaged. An embodied account of Winfield’s experience with dyslexia, “In Search of Air” recounts her journey and struggle, questioning and laying out how it happened that she did not learn to read until she was an adult. This work is a stark window into the educational system, a look at shame, and a heart-wrenching picture of humanity.

An artist and educator based out of Vermont, Winfield is a storyteller who uses words, movement, and performance. Throughout her creative process in relation to this work, she realized she could craft stories in her head without paper, saying them out loud in the woods, the shower, and the car, places she could talk out loud without feeling crazy. The stories were cemented in pacing, tone, volume, and emotion, and with each word, evocative movement ideas and qualities became apparent. The result is “In Search of Air,” a story that establishes dance as a lifeline, colored through the voice and body of a powerful artist; a vulnerable act not to be missed.

Following intermission, Betsy Miller and Matthew Cumbie take on whimsy in their duet, “The (still perfectly fine) Adventures of Unicorn Hair and Dragon Heartstring”. Miller, BDF’s current box office associate and house manager, has been a member of the BDF family for almost twelve years, and Cumbie, for five. Five years ago, the two came together to embark on their first process; which began here at the festival. It felt like the beginning, and in 2016, the two had the opportunity to return to the process to create this new work, building upon what was started five years ago at the Bates Dance Festival. Now, at very different points in their lives, they are returning; returning to a process and a relationship with a strong and enlivened residue that is still very much alive in their bodies and memories. The dichotomy of the two – the present and the memory – are put together in this duet, resulting in a lively investigation of their relationship, their selves, and how they interact with the world around them.

The whimsy of this duet lives in the performance, the props, and the artists, a performance reminiscent of the process. Wildly playful, Miller and Cumbie give themselves permission to be their most authentic selves, a rare practice which, in this case, is integral. The act of making is central to the work: the histories, the eccentricities, the returning. Returning to their childhoods, their relationship, and the place where it all began. The piece comes to life inside this. The “what if’s” which often live only in the studio, are part of the performative score, creating an experience rooted in fantasy and openness for performers and audiences alike. “The (still perfectly fine) Adventures of Unicorn Hair and Dragon Heartstring” conquers and cultivates ideals of openness and vulnerability, establishing standards of how we all should strive to exist in this world: together, with a touch of whimsy.

This performance is not to be missed, a gathering of artists vulnerably presenting original, complex, and imaginative work. This program runs only on Friday, July 7, at 7:30pm in the Schaeffer Theater, and promises to delight, entertain, and remind audiences of the reality of humanity and the art of existing in this world. We kick off our 2017 Performance Season with Lida Winfield, Betsy Miller, and Matthew Cumbie. We welcome you into this world.

This post was written by Phoebe Ballard. Phoebe is the social media intern for the 2017 summer. 

What has been unexpected in your time here so far at YDW?

Sophia: The most unexpected thing has been this environment we exist in; it is so unique and so special. Everyone in the environment is so respectful and so supportive of each other; everyone is celebrating everyone else’s successes. I am trying new things and progressing in every mode. There is such a focus on growing as a human being and not just growing as a dancer, and that has been really wonderful for me.

Lihle: Everything was so unexpected to me because I am not used to four classes a day. I usually do one and that is it. It is physically and intellectually draining, but really good.

Nyna: Just being here is really unexpected for me, I wasn’t sure I would be able to come, but I am so grateful I got to come. I feel like I’m really improving and learning as a person and it is a lot of information but I am really grateful.

Zaria: It has been a really eye-opening experience for me, I am very used to a traditional approach to dance and this has challenged me to see dance from so many different angles and perspectives. Who knew that just walking and using nonverbal communication could be so powerful, even more powerful than words. That with this intimate sense of community gives me a new perspective on dance. You don’t always have to do big tricks, it’s about moving with passion and conviction.

What is something a teacher has said that has stuck with you or resonated with you?

Sophia: Everything Lida says. I just want her to be my life coach. The two things that I really like are: “don’t apologize for taking up space,” and, “if the dance is boring it is your responsibility to change it”. It is all about having accountability for what you’re doing.

Nyna: Something Dante said really resonated with me when we were working on the solo piece in rep. He told me to dance for myself and not try and imitate other people. He told me I didn’t have to do what I thought other people would think was right, but to do what I thought was right.

Lihle: All the teachers are very encouraging, which makes me want to do my best and keep trying even when I am exhausted.

Zaria: Another thing Lida says in her class is “you have nowhere else to be but here”. I realized that I am always thinking ahead, but when she says that, it reminds me to be present in the moment and give 100% to this moment because we can’t know what’s next. This is our life right now.

Aside from the dancing, what is your favorite thing about being here?

Nyna: Getting soaked twice in a monsoon on our way to the improv jam.

Sophia: Generally at summer programs I’ve been at, the counselors are just there for liability. But here, I feel like they are making such an impact on all of us. It is so cool to have role models like them to look up to and get to be close with. I think that is really special about this program.

Zaria: I think all the leaders that are here are always encouraging and want to see you succeed. They want to help your abilities and are always pushing you to try harder, but the whole time they are right there next to you.

Lihle: It is really fun with the counselors and the teachers. Being here for me is really special. Yeah, it’s just really special.

What is one thing you are seeking or working on?

Sophia: It was kind of by chance that I ended up here. I’m very interested in modern but do a lot of ballet at home. I am looking for the grounding modern dance brings, and I have realized all the different outlets for dance. Laura has said a couple of times, “dance is a vehicle to change the world” and I think that is so cool. Coming away from this, I have a goal of using my dancing to make an impact in some way.

Lihle: One of the big reasons I am here is because I want to make a change. Where I come from, people can be so judge-y. They think ballet is just for white people, just for gay people. I am here to start making changes. It is my dream to become a professional dancer here.

Nyna: Before I came to Bates, I was considering quitting dancing because I felt kind of stuck, but once I got here, my mind started to change. I think I’m going to keep up with it. It’s hard, but I want to stick with it.

Zaria: One of my goals is to reach outside my comfort zone while I’m here, exploring new styles and stretching my abilities and myself and really just learning as much as I can. Observing all these professionals in these classes will really help me in my future career because I think I eventually want to teach and learning from them will really help me.

Anything else you want to add?

Bates is great.

It’s amazing.

It’s unlike any other program I’ve been at, in a good way.

This post was written by Phoebe Ballard. Phoebe Ballard is the Social Media Intern for the 2017 summer. 

BDF: We’re nearing the end of Week 1 of YDW. What is your sense of the festival so far?

AM: I have been a part of BDF/Gibney Connect at Gibney Dance Center, so I was excited when Laura asked me to join Young Dancers Workshop and have three weeks to really see what we could discover. First off, I am amazed by how thoughtful the daily schedule is: thoughtful around space, time, breaks, food, conversation. We can really spend the time to be together and reflect, debrief about the day, and share about our lives. It seems really extravagant and lovely and necessary all at the same time.

I am learning so much from taking the classes of the other faculty here; the specificity, the individual attention, the prioritizing of the human. Every teacher has all the tools to really set a rich environment for learning and connecting together. There is a beautiful balance between rigor and ease, which is so applicable both inside and outside the studio. I’m already feeling like I want to reinforce what is happening in other classes in my own class as a way to continually remind ourselves that these are not disparate movement sensibilities, but that all these ideas are connected. All the aesthetics are equally valuable, and if we can have them all in our toolbelt, we will realize how ready and available we can be.

I am also so captivated by the larger discussion around how everything we do in the studio is applicable to our daily lives. I’ve never been in an environment where this idea is as explicitly stated and as organically present in what’s happening. I feel like my job being part of this festival is to gratefully hold on and ride the momentum of this culture of forward movement and connection that has been cultivated here over these many incredible years. Dance is valued as the vehicle for creating amazing citizens of the world, and in literally every experience in just the past five days, that has felt like a very intentional priority.

BDF: What are some of the principles you hold in your teaching?

AM: I think I am interested in loops. I’m really not interested in setting up a situation where I am the sole producer and the students are just receivers. I’m interested in a balance of information coming from me to the class and information coming from the class back to me, and with the incredible live musicians as well. There is an iterative process going on that allows me to read the room and make choices in the moment. I come in with my phrases and things I know work, but I’m constantly looking for how we can co-create an environment together with this material. I’m experimenting as I go. I’m relishing the opportunity to work with this stunning group of students so intensively; to really dive into concepts, sensations and strategies that will get more and more nuanced with time.

BDF: Can you tell us about the work you do with Gibney Dance and art in NYC?

AM: I’m a full-time dancer with Gibney Dance Company, and as Company Director I oversee rehearsal direction, and work closely with our Community Action team to implement our healthy relationship programming with high school students and movement workshops with survivors of intimate partner violence. We’re in the studio, we’re out in the community, we’re advocating for dance and the power of the arts. The ideals that are happening here at Bates are so akin to our values at at Gibney Dance Center. We all know that dance artists have so much to offer our world; we are entrepreneurial creators with incredible work ethics who value empathy and collaboration; amazingly versatile life skills that allow us to be successful at virtually anything we put our positive energy toward.

BDF: Who would you put in your “Young Dancer, Need to Know” word bank?

AM: Research who’s ideas came before us and what they were responding to in the world: Martha Graham, Doris Humphrey, Anthony Tudor, Jose Limon, Paul Taylor, Trisha Brown, Alvin Ailey, Merce Cunningham, Lucinda Childs, Katherine Dunham, Simone Forti, Steve Paxton, Fred Astaire, Ida Rolf.

Research who is evolving ideas today and what they are responding to in the world: Katherine Ferrier and The Architects, Nora Chipaumire, Axis Dance Company, Kyle Abraham, Stephen Petronio, Counter Technique, The Bang Group, Anna Terese De Keersamaeker, Jonah Bokaer, Brooklyn Academy of Music, MANCC, Simon Sinek, and YOU!

BDF: Are there any words of wisdom you would like to share?

AM: Let us remind ourselves that we are powerful and each of us can be a leader at any moment of the day. We don’t need to wait to be picked by someone else. Invest in and rely on other people for sure, but also cultivate the ability to create opportunities for yourself. Discover a way, don’t wait for someone to say yes, say yes to yourself, keep picking yourself.

This post was written by Phoebe Ballard. Phoebe is the BDF Social Media intern for the 2017 summer.