Eclectic Edge Ensemble

There wouldn't be a show if it were not for the very talented people that work behind the scenes. And as you may have guessed, there is always a lot that goes on behind the scenes of any show. With dance performances this includes hiring a photographer, a lighting designer, and many more. Our awesome photographer, Hannah is credited for many of our post cards, and the photos on this website. As well she takes our publicity shots. It also means hiring an amazing lighting designer. There wouldn't be a show without lights. It is a very tricky process and and noone is a pro like our lighting designer Julia! We asked our very talented photographer and lighting designer to share their process of developing their art and what it is like working with EEE. As they say, "Lights, Camera... Action!"

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Karis Sloss & The Eclectic Edge Ensemble

I've had the pleasure of knowing Karis and all of the hardworking persons in and around her collective since Amanda Hankerson introduced us 4 years ago. I enjoy watching all of the material we've generated for the company turning into such a strong, welcoming and honest identity for the Eclectic Edge Ensemble!

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With every new show comes little projects that all come together to create such a mind blowing end product. We've created so much amazing material that leaves me smiling so proud at all the hard work accomplished by so many people. I emphasize this because outside of EEE I mostly work alone, for a group of people. With EEE it feels more like a partnership. I feel closely connected with every show, and that is a very special feeling. I think of EEE more like a friend than a client!

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I get to meet with Karis months before the show, when the project is still raw. The ideas scribbled onto many pages of her notebooks, she paints such beautiful portraits of things to come it's a highlight of my season! I start creating off of those descriptions. I'm usually given amazing sets of photographs to work with, all shot specifically with each show theme in mind. The lettering style I make usually comes from the feelings those photos evoke. With recent shows we've been creating more material than just postcards and posters, making all sorts of projects specifically tailored to showcase members of EEE coinciding with the theme of the show.

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My favorite project was the "For Sports Sake" trading card sets. Each card had so much character and really showcased each dancer's personality.

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I feel so lucky to know and work with Karis and all of the wonderful artists, musicians, dancers and creative supporters she's brought into my life! She's exactly the reason I make the work I do. I can't wait to see where the company goes from here, and what we come up with next!

Hannah

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And next up... Julia!

The lighting process starts with a meeting. Karis is great about outlining the show, with a breakdown of all the pieces and any ideas she has. She'll also include costume details and information about the music. If there are other choreographers, I will chat with them also to see what they are thinking about in terms of the feeling of the piece. I like to see two rehearsals before going in to Tech Week, the first to get a general feel of what the pieces are like and the second to nail down the cueing a little more specifically. Of course, at this point everything is still really flexible.

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In a show that has a lot of different pieces, I try to give myself a variety of color and saturation in the light. We are working with the same light plot for the whole show, so I have to consider all the pieces at the same time, giving myself enough variety that I can differentiate between the different numbers. Load-in begins with double checking the focus on the lights and getting color and any specials put up. Then I will write cues for everything before the dancers arrive. During tech, I am watching for timing of cues and making sure that everything we want the audience to see is illuminated beautifully. Since EEE has performed in the Ritz for a number of years now, I think we have a good handle on the process, and we always end up with a fun and good looking show!

Julia

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This performance is made possible, in part, by MRAC and the Minnesota Arts and Cultural Heritage Fund as appropriated by the Minnesota State Legislature with money from the vote of the people of Minnesota on November 4th, 2008