The air tingled with excitement at the Show and Tell performance on Friday afternoon. The showing focused on a “day in the life” of a YAP student, which gave the audience members a glimpse into the students’ experiences throughout these past three weeks. This performance did not include any of the choreography that was shown in the Festival Finale on Saturday evening, but was breathtaking nevertheless.

Musicians Terrence Karn and Rob Flax started the show off with their creative music classes. The “tick tocks,” YAP’s youngest students, began by sitting cross-legged on stage following Terrence in a fun body percussion sequence and sang along with Rob. Next, the “middle ages,” showed their new knowledge of time measures through clapping, hitting the stage, and counting along with their teachers. The “senior citizens,” YAP’s oldest students, then performed one of their favorite songs, “Wild Things” by Alessia Cara. The audience watched with huge smiles on their faces as the students gathered in a half circle and sang the lyrics and clapped.

Following the music portion, theater teacher and assistant to YAP director, Annalyn Lehnig, led the teens in a theater exercise in which they interpreted one of their peer’s walking patterns. Next, the “tick tocks” ran to the stage to demonstrate their new dancing skills with teachers Patrick Ferreri and Rose Leach. Patrick had the “Yappers” speed up and slow down their movements to add even more creativity to their dancing. Not to be outdone, Patrik then began a warm up with the “middle ages,” complete with yoga poses, planks, and handstands. The show continued with hip-hop and other demonstrations that highlighted the students’ originality and talent.

Only a little over 24 hours later, our “Funky Timers” geared up for another beautiful performance. They participated in the Bates Dance Festival Festival Finale that included pieces choreographed by professional artists and performed by students of the Professional Training Program. They had the opportunity to show their families and friends their choreographed music, dance, and theater pieces and also had the chance to watch the older dancers perform. The YAP students’ artwork, which included self-portraits, drawings, and their tree designs, was also displayed beautifully in the Alumni Gym.

The YAP section of the festival finale was titled “It’s About Time.” The “Funky Timers” wore black bottoms with white t-shirts painted with “YAP EST ’95.” The performance was separated into sections by different lines of the quote about time by Harry Van Dyke: “Time is too slow for those who wait, too swift for those who fear, too long for those who grieve, too short for those who rejoice, but for those who love, time is eternity.”

The YAP Festival Finale began with the students’ voices stating what day and what time they were born. Annalyn and Rob added a soundscape on top of the voices, creating a nostalgic and beautiful beginning. As the “Yappers” sat in a meditative pose, one of the students displayed the quote; “Time is too slow for those who wait…” The “tick tocks” and “middle ages” exited, and the teens performed a stunning dance piece to “From Eden” by Hozier.

The “tick tocks” re-entered to the sound of a clock ticking, and followed their intern Jazmine in a song and clapping sequence. Next, the “senior citizens” danced in two diagonal lines along to traditionally soulful music performed by Rob Flax and Jesse Manno. After, the “middle ages” performed their hip-hop piece, complete with partnering, lifts, and lots of fancy footwork.

A YAP student crossed the stage with the next line of the quote, “…too long for those who grieve,” while Rob and a student played a violin duet, signaling another section of the performance. The “middle ages” then formed a semi circle around one student, and the teens joined singing “Good Riddance (Time of Your Life)” by Green Day. In an extremely heartwarming moment, the older students exited and the “tick tocks” were revealed holding hands in a circle. They moved from the circle to jam out and show off their new dance skills.

Next, the “middle ages” demonstrated their musical talent with a full orchestral performance including a flute and a violin solo. The music demonstration lead into an upbeat, modern dance to a remix of “Time After Time” by Cyndi Lauper, performed by the teens. The next quote “… too short for those who rejoice…” along with another beautiful violin sequence cued the “tick tocks” to begin their original song about time. Their song transitioned into a funky dance with headstands and even splits. The “senior citizens” then really showed their “age” and broke out some fancy dance moves despite their need for canes.

The final line of the quote “… but for those who love, time is eternity,” introduced the finale of the YAP show. An emotional version of “Let it Be” sung by one of the “Funky Timers” left goose bumps on the audiences’ arms. This progressed into two students standing side by side holding hands in a circle made by the other “Yappers.”

The students closed out the showing with a breathtaking infinity sign made through a walking pattern, overlapped with the students’ voices saying; “For those who love, time is eternity.”

The YAP faculty and staff is truly proud of the “Funky Timers,” and their hard work was evident in their beautiful final performance. At the final bow, the audience went absolutely wild. Everyone was clearly very touched by the young artists’ creativity and talent. Bates Dance Festival is thankful to host this exceptional program each year.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

Photography by BDF Intern Blake Caple

Love Is Eternity

As the Festival Finale creeps closer and closer, the Youth Arts Program faculty and staff have begun shaping and finalizing their ideas. On Monday, the students gathered together to show their peers the pieces they have developed throughout the last two weeks. Some of the dances include handstands and spinning on the ground, while others focus on smooth, slow movement and meditation. The music is upbeat and energetic in some pieces, and instrumental and peaceful in others. The students are often dancing in pairs, which gives them the opportunity to learn partnering, cooperation, and balance.

Monday evening, the YAP faculty met to finalize the order of the Festival Finale and discuss transitions and themes. Today the students will run through the first half of the show, and will continue through the second part tomorrow. The YAP staff enjoyed their meeting and even sang through some of the songs. The faculty always makes sure that having fun is a priority at YAP, even at weekly staff meetings.

The staff discussed transitions, which are important for physical blocking of the show, and also for the smoothness and arc of the piece. For this year’s Festival Finale, the students will begin with quiet, slow movement. They will then build to a more energetic middle, and decline again to a soft, serene ending.

Although the YAP staff began with the solidified theme of time in mind, they have transitioned this idea to include a strong sense of mindfulness and being in the moment. The students have been learning to be mindful and present every day in order to make each moment special. Keeping with this idea of time and being present, the students will end the show with an infinity sign made of moving bodies. The show will close with the students’ voices saying, “Love is Eternity.”

This statement was inspired by a quote Henry Van Dyke: “Time is too slow for those who wait, too swift for those who fear, too long for those who grieve, too short for those who rejoice, but for those who love, time is eternity.” The YAP staff feels that this quote really embodies the meaning of this year’s show and the supporting community created by our students.

The staff has decided that the “Yappers” will wear white t-shirts that they will paint themselves in art class for the final showing. Their outfits as well as their movements will emphasize the students’ unique qualities and personalities. The students’ voices will be used to accompany their movement, as well as songs that they have created and centered on time.

Everyone is excited and looking forward to the beautiful moments that will happen throughout this week and in the Festival Finale. The students are enjoying watching each others pieces and are influenced by their talented peers and teachers every day. They cannot wait to show off everything that they have been working on in these past few weeks to their family and friends.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

Photography by BDF Intern Blake Caple

BDF:   Can you tell me a little bit about your dance background?

MM:   I started dancing at the age of 17. I started with ballet and slowly got more into modern aesthetics when I went to community college. I was at community college for a while in California. I took some time off and then started dancing again when I went back to Cal Arts. So now my training consists more of ballet, contemporary, modern including Limon, Horton and Release technique.

Manuel Meza – PTP Student ’16

BDF:   How did you hear about Bates Dance Festival?

MM:   Stephen Koplowitz was the dean at Cal Arts and had the ability to recommend a student for a BDF scholarship, and I was the recipient of that scholarship. It’s my first time here and it’s great. I definitely see the community that is building and nurturing in this environment. Especially being from the West coast, born and raised, it’s nice to come to the East Coast and see this community of dance and see the differences but also the similarities.

BDF:   What classes are you taking and what have you learned from them?

MM:   I’m taking ballet 3 with Rachel List, modern with Paul Matteson, advanced improvisation with Angie Hauser and Chris Aiken and teacher’s toolkit with Mary Carbonara. In ballet I’ve been finding a different ease in quality. Since it’s a slower pace it’s nice to get back into the basics of ballet and really absorb the information, especially because I want to be a little more technical. Paul’s class is really rooted in this nice human and spiritual experience of the body, which is really grounding for me right now. I’m really interested in improvisation and performance so advanced improvisation is really engaging and allowing me to try new things and not question what I’m doing, just to go with it. And the teacher’s lab is one of my favorite classes because I’m very interested in teaching, especially with younger students. We learn how to structure a class, what should be in a class and what shouldn’t, and why we do things for our students and what the benefit is. It’s really informative. It’s definitely a class any dancer who is interested in teaching should take.

BDF:   Have you gained any opportunities from BDF?

MM:   I definitely feel my connection is strong with Chris and Angie because performance improvisation is something I’m really looking into. And I have a connection with Mary because she is in San Francisco, and she has mentioned that if I ever want to take a class I should look her up which is nice because that’s somebody on the West Coast. Also Paul, because of the way he teaches class, we dialogue sometimes. Those are people I really want to stay in contact with to further explore my own artistic goals. And especially if I ever move to the East Cost, I would tap into those connections.

BDF:   What is next for you now in the dance world?

MM:     I have one more year at Cal Arts, and during that time I’m going to focus on creating work. I will especially focus on the split between my solo improvisation work that is more performance art based and my choreographic group work, which is more rooted in a classical sense of modern dance and movement for movement sake. I definitely see myself creating more. And now I’m not sure if I want to move to the East Coast after school, so that is something I need to think about. I was born and raised in Los Angeles, and now I’m seeing the beauty of the East Coast and the dance community over here.

BDF:   Was there an event or workshop that really impacted you? Why?

MM:     I think just the ability to see professional companies coming in and being among them in class. I remember on the first or second day of class some of the Doug Varone dancers were in class but I didn’t know they were Doug Varone dancers. It was really inspiring to see them move and then to see them on stage. It breaks the barrier of professional performing artists and the realm of students. That was very important to me because it allows you to see that they are just human beings honing their craft even if they are on stage. I think that is very important for young dancers. We tend to look at them as more than they are so it’s nice to see them as people and think, “That could be me.”

BDF:   What is one of your favorite memories from being here?

MM:   I had just had a weird day, and I sat out in Paul’s class because it was all group work and I didn’t feel like being touched that day. But then in improvisation we started with touch and I just allowed myself. It was a very warming experience. It allowed me to let the beginning of the day melt away. I had just established a friendship with my partner and it allowed me to forget about the difficult moments. It was a very nice moment that I like to remember.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

Photo by Alban Maino

I had the opportunity to attend the workshop and left at the end of the evening feeling much more confident in my knowledge of the business side of dance. Here is some valuable information that I learned in the brief hour and a half lecture. It is important to know as much as possible about the business of dance in order to succeed as an artist.

Marketing

• Promote yourself whenever possible, and identify yourself separate from your peers
• Build a complete profile and materials including press reviews, videos, and photos
• Know and study your market
• When you move to a new location, connect to a dance service organization

Becoming a 501c3 vs. Fiscal Sponsorship

• 501c3: legal not-for-profit organization

Fiscal Sponsorship: through a sponsor and can fundraise

• Use Fiscal Sponsorship for as long as possible, this is great for small companies and businesses
• Make a pitch at after-show gatherings

Grants

• Do not apply until you have 3-5 years of professional experience
• You must have perseverance over time; keep applying!
• Remember – nobody owes you anything!
• Go see as many shows as possible and see who is funding, read arts section and get to know the reviewers
• Build a relationship with a program officer
• Network, promote, and volunteer; stay as connected as possible
• Grants include:
  • Cover letter
  • Narrative
  • Budget
  • Supplementary materials

Budget

• If you can afford it, try to avoid fundraising
• Make an annual appeal around Christmas time; use a typed letter and hand write parts to personalize
• Always make your donors feel special – thank them, put their names on website, announce at shows, etc.
• Use quarterly newsletters
• Build an advisory committee

Artist Representation

• Use LinkedIn and other Social Media sights
• Agents are not absolutely necessary, but you can always invite them to shows
• Record everything in a CV – assignments, internships, etc.
• Resume should be 1-2 pages, but the most applicable experience on the top depending on the job
• Cover letter should show passion!

NYC Organizations

• Gibney Dance
• The Field
• Fractured Atlas
• NY Live Arts

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

Today, our class worked on a long, complicated combination, and although I struggled a little, I felt extremely accomplished when I finally conquered the sequence. After class, Michel told us that once we establish ourselves within the movement, we will become stronger. I greatly appreciate his encouragement and emphasis of bringing our own personality and style to the class.

This week, I had a chance to sit down with Michel and learn about his history and his experience here at BDF.

BDF: Can you tell me a little bit about your background with dance?

MK: I am originally from the Ivory Coast. I think I was lucky to start dancing as a little boy on the street first. In the Ivory Coast where I grew up, we used to have dance groups for young kids that would compete with groups from other towns. In every village there were artists, sculptures, singers, writers, and dancers. So that got me more interested in dancing, which wasn’t traditional at all, but that’s where I learned the basics. When I first joined a dance company I didn’t fully understand how they were transforming traditional dances. Back home, traditional dance wasn’t my main focus. In the company that I was in, we were only learning movement and playing with it. I went to Germany and I started to work with an international artist, and then I started to understand dance a bit more. I worked with choreographers in Asia as well. I was really interested in pushing myself further and I had to go back and learn more traditional dances and find a good balance. I don’t like labels, and therefore I don’t want people to see me as only an African dancer.

BDF: What was your experience with dance here in the United States?

MK: When I came here, my first job was with Reggie Wilson. I met him in Senegal in 2001. When I got to the U.S. I went to his workshop and then started working with him. It was a great experience. I started making my own work in 2003, and so I was fully doing my work and traveling as well. I currently have a pick up company, and I will call my dancers when I have a project. The last project I did had 13 dancers and it went to Germany, the Ivory Coast and the Joyce Theater.

BDF: How did you come here to Bates?

MK: That’s an interesting story. My son’s mom met Marc Bamuthi Joseph in India in 2002. She went for a school project because she’s a composer. She showed him a video of my work, and he thought it was really good and invited me to the Bates Dance Festival to visit in 2006. I showed my work to Laura Faure when I was here, and she invited me back to teach as a guest artist in 2007. The last time I was here was 2012; I haven’t been here in the last three years. And here I am again. Every time I come here I feel like I’ve come home. I feel like I have an open mind and I can work here.

BDF: Do you have any stories from dancing abroad?

MK: When I was in Amsterdam, I was supposed to dance for the Lion King. I did the audition but I was working on a project in Japan and actually living in Belgium. I asked them to send the response to my sister’s address, but she never told me that I got the letter. I travel a lot, but I hate it. I hate flying; it’s my phobia!

BDF: What’s next for you in the dance world?

MK: I’m moving to Minneapolis. I will be teaching at the University of Minnesota, I just got a job there. One of my students is actually here at BDF! When I went to interview at Minnesota, I had a meeting with a student. And at orientation here at Bates, I saw her! The dance world is getting smaller but there are many things happening at the same time. Sometimes it’s hard to keep track of what’s going on.

BDF: Have you gotten opportunities from Bates?

MK: Oh yes, lots! Every work that I’ve made here has been successful. That’s why it feels like home when I come here. The work that I made here won me the Vilcek Prize for Creative Promise in Dance in 2012. When I see the artists that are here, like Doug Gillespie and Paul Matteson, it makes me so happy. Once you get here, you know where you’re going next. Here there are people to guide you, and they really mentor you. I see this festival as a dance mentor, more than just an exhibition place.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

Although the Youth Arts Program only began on Monday, the YAP faculty are already feeling inspired and are exploring ideas for the final showing. This year’s “Yappers” have decided to call themselves “The Funky Timers,” as the theme for this year is time. The littles (grades 2-3) have chosen to be called “Tick Tocks,” the middles (grades 4-6) “Middle Agers,” and the teens (grades 7-11) “Senior Citizens.”

On Wednesday evening, the YAP staff met to discuss ideas to develop as the program continues. At the end of the third day, they had already begun to see sparks of brilliance from the kids and were learning how best to work with this year’s group.

Immediately, faculty began spouting ideas for the final showing. Annalyn Lehnig, YAP’s theatre teacher and assistant to YAP director, suggested recording the kids stating where and when they were born, and staggering the statements with music. Annalyn thought that it would be a great way to support the theme of time through background music.

Patrick Ferreri, one of YAP’s dance instructors, enthusiastically described an accompanying movement of two figures in the center of a revolving circle of others. He imagined the couple constantly switching in and out with other dancers. Patrick saw it as a representation of change and time passing, and also imagined it resembling the circular rotation of a clock. In class, Patrick has been working with the teens and the concept of age. They have been investigating the development of life in relation to movement. He asked them to imagine themselves as babies, toddlers, and their current age. At each stage, the teens created a movement to represent that time. The students loved this assignment and have created many fun and inventive gestures.

Rose Leach, another YAP dance instructor, has been working on meditation in her classes. The students are learning to pause every so often and take a breath. She suggested that the final showing express these pauses. The faculty may play with stopping and starting accompanied by a gong, alarm clock, or other sounds that people associate with time.

In music class with Terrence Karn and Rob Flax, the students are becoming fluent with time signatures. They are even learning complicated timing including counting in fives and sevens. The YAP staff is extremely impressed with the students’ talent and how quickly they have absorbed new information.

Another theme that YAP may explore is the concept of seasons, which Priscilla Rivas, YAP’s acting director and dance and visual arts instructor, will be studying in art class. Priscilla has also been working with the students and creating timelines of their lives, including their past, present and future. In this way, they have been able to express what they hope will happen in their lives, as well as what they have already experienced. Priscilla is considering giving the students an assignment of painting their own version of Salvador Dali’s painting of melting clocks, “The Persistence of Memory.”

This year’s “Yappers” are enthusiastic and hard working. The YAP faculty cannot help but be inspired by their infectious happiness. They are looking forward to developing these ideas and watching as they grow into a beautiful final showcase of the students’ work.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.

BDF: How long have you been here at Bates?

ML: I think my first summer was the summer of 2007. I was in grad school at Smith College and received funding to study. A friend of mine, Kellie Lynch, had gone to the Bates Dance Festival the year before and I followed even though I didn’t know a lot about the BDF. I first came as work-study, then on a merit scholarship, and then as a counselor. I then took a break from the Festival to spend my summer in other places and grew in different ways. I wanted to be more exposed to everything.

BDF: What did you find inspiring about Bates?

ML: At the time, I remember looking at other summer programs and they had an age cut off. Bates doesn’t have that, which made me excited and it seemed like a much more adult program. When I came here I fell in love with it and found a sense of community that I hadn’t felt in the dance field. I also didn’t know who any of the artists were because I came from a different side of the dance field. The sense of dance history is different depending on your focus in learning. I feel that it’s important to remind students that it’s okay not to know everything about the artists, and that was an important part of my role here at BDF. I also found the legacy dancers, those who had been coming multiple summers in a row, very inspiring. I was like “I want to be like them.”

BDF: How did you arrive at this position?

ML: I was teaching and taking different positions as a director of dance programs. I was also a freelance teacher and performer based in Philadelphia. I saw Laura Faure at a dance event, and she asked me to apply for the job because Nancy Salmon was retiring. I had a lot of commitments that I had prior to accepting this job, which was tricky. While I was here I taught and traveled to set work in other places as well. The BDF position deals with every single student and parent, and handles donations during the year.

BDF: What is the new position that you have accepted?

ML: I have a tenure track assistant professor in dance teaching position at Colorado Mesa University. I have had a lot of administrative experience, but I’m excited to be in the classroom and moving. It’s what excites me most about the field. I’m interested in seeing what it’s like to not be in charge of fixing things and focus on creating and teaching.

BDF: What courses will you be teaching?

ML: I’m teaching intermediate-advanced ballet, intermediate-advanced contemporary modern, dance history, and an improvisation class. I also make a piece in the show each semester.

BDF: What made you pick this position?

ML: I feel disconnected from the dance community during the winter here because you all come during the summer, and the weather is difficult. The landscape and the sun are wonderful in Colorado. It’s not a huge dance community, but I will be around lots of dancers and helping lead the program. I want to be able to have a full life that isn’t just dance related. I feel very conflicted leaving here, but I also know that I have to take care of myself and take a risk.

BDF: What will you miss about BDF?

ML: The people and the environment. The great thing about the BDF community is that your teachers really do get to know you. And if you keep in touch with them and grow a relationship, they care about you. I love helping people grow, and that’s why I loved this job. But I’m looking forward to being just a student. I still know everyone here and will continue these relationships. I’m actually taking Choreo Lab 2 now to help with ideas for a piece that I will be creating for next semester. The connections here are incredible as well. A professor at Colorado Mesa used to come to BDF every summer, and she was on the search committee. The dance world is so small! I think it’s great that Alexandra is coming in because she’s attended BDF, so that’s part of her legacy. I’m really excited that she’s the candidate they chose. She will give a fresh voice and she has connections to BDF and the Maine community, which I think is really important.

Alexandra Bell, a Maine native and past BDF student, will be taking over as Admissions Director/Operations Manager in the fall. She is excited to be back in a familiar environment, and is ready to take on her new role with a fresh perspective.

BDF: Can you tell me a little about your background in dance?

AB: I am originally from the greater Portland area. When I graduated high school I left and went to Columbia College Chicago where I studied and received my BFA in choreography. Then I moved to New York and started making work with my dance partner and presented small things throughout the city. I’m currently making my own work and starting my own process wherever I go. Two years ago I moved back to Portland and am teaching modern, improvisation and a lot of hip hop classes locally. I’ve been beginning the process in some of my own new work.

BDF: What is your connection with BDF?

AB: I came here as a student for three years in total, both in the Young Dancers Workshop and as part as the Professional Training Program. It really influenced who I became as a dancer. The intensity and rigor of being here lead to a desire to dig in deep and really immerse myself. It introduced me to a professional world of dance outside of the smaller community that I was involved in throughout high school. It broadened my perspective a lot and awakened something in me. That’s what I loved about being here, forming friendships and relationships.

BDF: What is your focus in your choreography?

AB: I wouldn’t say it’s any one thing in particular. I build a lot through improvisation so that’s very informative in my work. There are four rules I try to follow that were taught to me by a group of improvisational artists, The Architects: show up, pay attention, tell the truth, and don’t get attached to the results. So that’s where I go when I start creating. It comes from a very deep and personal space, and whatever comes out and becomes shaped and formed into a longer piece of work starts from that place. I don’t always have an intention or grander scheme of things when I set out to create. But I find that if I follow those rules, I’m lead to wherever it is I’m supposed to be going.

BDF: What are you hoping to get out of this position?

AB: I managed a dance studio in New York, and I love that kind of work. It is such a struggle to be a professional dancer in providing for yourself financially. I’ve been in pursuit of that bridge building of being an artist and also making money. I’m glad to be back. This community feels familiar and safe, although it’s also brand new. I’m approaching things from a familiar, but also very different perspective now. I love the rigor and pace of this culture and environment. I love being engaged with people who are engaged in the work. Although approaching things from an administrative perspective, it’s still very much in the field and the craft that I love so much.

This post was written by Sydney Burrows. Sydney is the BDF Social Media Intern for the 2016 summer.