Musings of a Non-Dancer

So let me preface this blog entry by stating: “I am not a dancer.” I have been cursed with the life-long illnesses of “klutz-itis” and “graceless-emia”. I dreaded high school dances for fear of making a complete idiot myself by tripping over my own feet, or worse yet—actually being asked to dance by a cute boy and then stepping (or should I say stomping) on his toes. Plus, I always moved so awkwardly that I felt I looked like a hippo on roller skates. Then came my college life where I avoided dances at all costs. Although tragically, my sophomore year I was cast in the chorus of Oklahoma! What a nightmare! I spent many of those rehearsals with ice packs on my ankles or head from being dropped. (To my defense, I believe my partner was just as klutzy as I am.)

So, why is a life-long, non-dancer involved with a dance company, you might ask? I have to admit that it wasn’t until meeting Karis and getting involved with Eclectic Edge Ensemble that I began to truly appreciate the art of dance. While dancing has not been a God-given gift of mine, I still love to watch people dance. I am amazed at how a good dancer can make the most complicated movements look effortless and easy.  In fact, I think it is the truly great dancers that make me think…”well, I can do that.” Even though I very well know that any attempt of that feat on my part would only end in injury or humiliation.

So, while I might not know the difference between a jete and a glissade (yes, I did just have to google “dance terms” to help me with this sentence), I can still appreciate the beauty of dance. This makes me believe that if given the opportunity, everyone can learn this appreciation. And who knows….maybe the next step for me is to try once again to dance in public…but I’m not so sure anyone is ready for that.

Thank you for reading my musings.

Emily Kramer
the “gracefully-challenged” EEE board member



Reflections

For a long time, I haven’t always had the maturity to truly appreciate other dancers.  Because of the competition mode that is so present in the professional world, I have fought to compare myself to fellow dancers.  This has always been a source of conflict for me because comparison suppresses the beauty in each unique individual (one of them being myself).  But I have been changing my view and finding a much more fulfilling and healthy approach to dance.

There are a lot of dancers in our community, yet each of us are completely unique.  We all have different physical strengths and weaknesses- some with flexible hips, others have strong arms, some are long languid movers and others little powerhouses.  Some of us are articulate educators, others prefer performing and choreographing, and many of us enjoy a combination of all three.  We all have unique experiences that have shaped the movers that we are today.  Within one phrase of choreography, dancers will interpret the movement with different dynamics and style.  Some dancers have comedic tendencies, while others ooze emotion, and some are well trained in postmodern simplicity.  The variety is amazing and essential for this creative art form.

I have wasted too much time wanting what I don’t have.  This does absolutely nothing for me or you. Appreciate the qualities you’ve been given because they are one-of-a-kind.  When you value who you are, you can much more easily value others and their strengths.  Lets continue to praise the creativity and uniqueness in each of our dancing selves. 

The Red Shoes

On Christmas day, after all the food and family, I went to see the movie The Red Shoes with Becky (a fellow EEE dancer) and some of our friends. It was a nighttime showing at the Trylon Microcinema, a great little independent movie theater in south Mpls. I knew the movie was from the 1940's so I was preparing myself to be a little bored, but to my surprise it turned out to be one of the best movies I've ever seen about dance.

The plot revolves around a ballet company, modeled after the Ballet Russe (Leonide Massine is even in the movie). The company is performing and touring the ballet The Red Shoes. The Red Shoes was originally a Hans Christian Andersen fairytale about a girl who dances herself to destruction, and that theme is sort of played out in the life of the prima ballerina in this film. Martin Scorsese has rated it as one of his all time favorites, and so he recently paid to have the film restored. I got to see the restored version, and it's amazing because even though it's from 1948 you can practically see the pores on the actor's faces.  I just added it to my netflix queue to watch over again. Check it out!

Katrina Schleisman

friends

I wanted to just take a bit of space on this blog to mention the many friendships I have acquired during the 4 years I have been dancing with EEE.  The amount of amazing people I have met and developed friendships with through rehearsals and shows has been priceless.  When I first started dancing with Karis, I was fortunate to work with my then acquaintance Katrina (below-left, with me) , and during that first few months we became very close friends.  I now consider her one of my best friends.

 It is so easy to become close with each other while dancing in this company.  Karis creates an atmosphere of fun, compassion and togetherness that really fosters this type of relationship development, and I think it is one of the things that we all cherish.  I just wanted to mention this because all the lovely ladies of EEE are amazing and I want to thank you all for your friendship!

Becky Olson

Shall We Dance?

            This Thanksgiving, I went to the Heights Theatre in Columbia Heights with my husband and parents to see the classic Fred Astaire and Ginger Rogers movie Shall We Dance. As Fred and Ginger began to inevitably fall in love with each other, I sat laughing with the audience around me, eagerly anticipating the next dance number, hoping, and knowing, that no matter what the next song would be, I would find plenty of pleasure and delight as long as Fred or Ginger did their thing.

            The plot of this particular movie centers around Petrov, a famous ‘Russian’ ballet dancer with a secret longing to blend tap and ballet (one guess as to who plays this role), who has discovered and instantly fallen in love with a popular tap dancer named Linda Keene. She does not return his attractions, as least for a while (one guess as to who plays this role). The showcase number here is probably “Let’s Call the Whole Thing Off,” in which our two stars dance on roller skates, but although Fred and Ginger have just a few numbers together, every dance feels fully realized and singular in its vision. Sure, Astaire and Rogers was a popular and immediately recognizable brand by this time (this was their seventh movie together), but none of it feels old, every dance scene feels alive and exciting 72 years after its initial release.

            So is there anything missing today? Do we take dance too seriously? Where’s the excitement, the pure pleasure, the simple joy of dance like this? Of course it still exists, EEE hasn’t forgotten, of course, but sometime it’s just a bit hard to find it seems. I just want to remind us all of that absolute pleasure dance can give us. Thanksgiving was the perfect day to see a movie like this, to be surrounded by a family that was all there for the same reason: to see Fred Astaire and Ginger Rogers dance on the big screen. There was laughter, there was joy, and we were all most definitely thankful for such a fantastic pair.

Emilie Moravec

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

Saxophones, trumpets, drums, dancers……..the beginning of a large list of musical instruments. Wait a second; dancers!? Yes, dancers. Dancers should indeed be a part of this list, as far as those who study and proliferate jazz movement are concerned. 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 mediums 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 simplistic 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 between those two things is music. Jazz musicians savor a close relationship between their eyes and mind, and by throwing in the additional element of the eyes, jazz dancers develop a keen relationship between the operation their body and the acting of listening to music; in short, they create a visceral absorbing of and response to music. 

Another factor that can be taken into account by jazz music fans watching jazz dance is the shared 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 folk 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 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, both through the creation of music and of dance. This bond is a strong one, and 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 mediums 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.

This article was written for the July issue of Coda, the Twin Cities Jazz Society newsletter. I hope you found it an interesting way to view jazz and musically-driven dance, as the creation of such is what we foster in the Eclectic Edge Ensemble. There are many upcoming chances to try these ideas out for size; just check the front-page of our website for our next round of shows!

- Erinn Liebhard, Company and Board Member

Adventures in Counting

Adventures in Counting

Unfortunately, this blog is not in reference to a Sesame Street segment, but a chronicling of my journey with the art of counting.  When dancing to music, we put movement to counts to correlate it with the rhythms of the music.  In the early rehearsal process, learning the choreography and pairing it with the correct musical counts can be the most complex and sometimes frustrating part.  Once I’ve remembered what comes next, I’m usually off the counts and might as well die (dramatic but effective demonstration of my point).  Truth be told, this is not every dancer’s issue, but it is surely mine.

Counting is an essential skill for dancers but for some it comes more easily than others.  Some people are natural ‘counters’ and I would call myself more of a ‘feeler’ (please ignore the awkwardness of this label).  I want to spend more time indulging in the sensation of one movement than moving quickly onto the next resulting in a lag behind the counts.  I’ve been the girl that just looks a little off of everyone else receiving responses like, “You are so passionate, but end up a little behind the group” (great, passionate but slow. super.).  For years, I have grabbed the ‘counter’ in the room (oftentimes EEE member Desiree Dantona... holla!) and had her review counts with me over and over again. 

Karis (Sloss! the director, the boss, the head honcho) loves complex rhythms, but does not always love the counting part of the equation.  She creates original movement that is fully inspired by the music. Karis teaches us complex jazz phrases and in some instances, figuring out the counts is a group effort.  This is great for my brain.  Participating in the counting process has helped me keep up with the quick minds of the rest of the dancers.  I’m so thankful for the opportunity that I have in Eclectic Edge Ensemble to be challenged by brilliant jazz music, choreography, and dancers.

Staying consistent with the counting theme of this blog, I’ve made a numbered list of things that I’ve learned in my counting adventures…

1)      Keep a notebook full of counts and choreography, so that once the counts have been given, you have a constant reference.

2)      Add the passion and indulgence into movement once the counts are solid in your mind and body- because it is easier to add not take away. 

3)      Study the music!

4)      Keep a clear mind.  This sounds sort of new-agey, but it helps when you (oooh! A list within a list!)

1. Don't freak out when given complex counts
2. Keep emotions on low and repeat coordination of body with counts over and over and over and over and over etc.

At the place that I am in my dancing career, I am so thankful for the challenges that counting choreography has provided me with.  Through growing in my ability to hear and feel the music accurately, I know that I adapt to the music earlier in the rehearsal process, and dance with more musicality, clarity and confidence than before.  So bring on the syncopation, the complex rhythms and all the challenge and growth that the new EEE season is certain to include.

Cheers to choreography with complex counts!

-Mallory Dykema

p.s. I want to thank any EEE members that have been pulled aside to review counts with me.  Thanks to Des for reviewing counts with me for the last 8 years.

Is it hot in here or is it just ME?

I'm going to say it, and I don't want you to get mad.  We just need to be honest with ourselves and face this thing head-on... WINTER IS COMING.

Don't get me wrong, I do love the beautiful white snow and the chance to bundle up and build snow forts (ps- FYI, you're never too old to build a snow fort, here's a useful link if you find yourself in the mood for being awesome: http://dethroner.com/2007/02/27/how-to-build-a-badass-snow-fort/). Sipping ... ok gulping.. hot chocolate while cuddled in your blankets or sitting by the crackling fireplace are all wonderous wintertime activities.  BUT - for anyone who is very physically active, especially we dancers, the cold weather can be a difficult thing to get past when preparing to exercise your body.

It is so so very important to warm up, especially when it gets cold out. Cold weather decreases circulation efficiency in your body and without sufficient blood circulation, your muscles cannot perform their best. Things you might normally be able to do with ease could become quite difficult and even dangerous if you attempt them when your muscles do not have adequate blood flow. The last thing we want to hear is the dreaded "pop!" or "snap!" of a limb that wasn't quite ready to dance. SO, let's prevent that painful experience by getting our muscles ready to go.

___________________________

Here are some great ways I have found to warm up before rehearsal or a show:

1. Plank Position

Have to warm up QUICK? This is perfect. The plank warms from the core out. All you do is hold the push up position for as long as you can (i would suggest 20-30 second intervals depending on how strong you are). You can choose to balance on your hands or clasp your hands together and balance on your elbows. Either way, it's a great way to get your blood flowing quickly. Make sure you don't let your tush droop or pop up!

2. Releves through forced arch

Ankles are very fragile, so make sure you don't skip them in your warmup. I like to do ankle rolls in parallel and turnout. You simply demi plie, lift your heels to forced arch, rise to demi point, and lower. Then you can cycle through the reverse direction (releve, lower to forced arch, lower heels to demi plie, and straighten legs).

3. Sun Salutation

If you have ever taken a yoga class, you have probably done one of these. It's a pattern of movements and stretches that really helps to start integrating your muscle movements and gets your body ready to start doing more complicated stuff. It would be really long to describe in words here, so I am providing links to a couple websites that show the pattern. http://www.yogasite.com/sunsalute.htm and http://www.youtube.com/watch?v=QQ3rd5vAx0g&feature=related.*(Sun Salutation is also quite useful as a calming and centering exercise before going onstage!)

4. Breathing

Taking deep breaths alone will increase your rate of blood flow through your body and it will also help you focus in on what your body needs at that time.

5. Abdominal Workout

If I still feel like I still need a little umph to get me going, crunches usually do the trick. Once again, it works your core, gets your blood flowing, and you'll hopefully be a little sweaty by the time you're done!

___________________________

Hopefully, if you warm yourself up well, you won't have to deal with injury.  However, just like the cold weather, injuries are something almost all of us must face at some point even if we do all the right things before we dance. In that case, there are a couple every day remedies you can try to get yourself back on your feet quickly.

1. Tiger Balm/Icy Hot

If your injury is something small like a muscle strain or just soreness, heat rub creams can be a source of temporary relief. I personally love the smell of Tiger Balm, but Icy Hot works just as well. The active ingredients in both of these rubs are Menthol and Methyl Salicylate.

Menthol acts as a local anesthetic (which will help to dull the pain your are feeling in your muscle) while the Methyl Salicylate dilates the capillaries in the area, thereby increasing blood flow. This is why heat rub creams are not only effective in reducing pain in an area, but also in preventing further injury.

Both of these creams are available at drug stores such as Walgreens for about $8.

2. Wrap It Right

If you have a joint sprain or strain, make sure you minimize the motion of the joint by wrapping it PROPERLY. Always wrap from the distal end of the joint to the medial end (farther away from you toward you). Here's some more links! wee! http://health.yahoo.com/musculoskeletal-resources/applying-a-compression-wrap-for-a-sprained-ankle/healthwise--zm2802.html and http://www.ehow.com/how_2300844_wrap-rehabilitating-knee.html

3. REST

You may think you can work through your injury, and you probably could! But if you don't let yourself rest, you will only delay your healing process and risk re-injuring it, which effectively makes your healing time 3X longer than it would have been and possibly giving you long-term or permanent injuries to deal with instead of recouperating quickly from your original problem. Basically, just let your body take the time it needs to get better. :)

___________________________

Ok.. so I think I have effectively used up all the space on the blog page, and I think I've shared all the wisdom I have for today. (Don't worry, I'll have more by next time.)

There's a billion more things you can do to warm up and help yourself heal.. I just threw out a few that are some of my faves right now. Come take a peek into the beginning of one of EEEs rehearsals and I can tell you confidently that you will find us rubbing that Tiger Balm, breathing those breaths, and holding that plank.. anything we can do to get our blood flowing so we can be the best we can be For Sports Sake!!

-Desiree Dantona

Eclectic Edge Ensemble 2009-2010 Season

For Sport's Sake

Eclectic Edge Ensemble returns to the Ritz with a production including new dance works by Minneapolis jazz legend Zoe Sealy and EEE Artistic Director Karis Sloss.

 When: July 15th-17th, 2010 @ 8:00 pm

            July 18^th, 2010 @ 2:00 pm

Where: Minneapolis Ritz Theater

345 13th Avenue Northeast 

Minneapolis, MN 55413-1264 

Tickets: $15; to purchase, call the Ritz Theater at (612) 436-1129, or visit

http://www.ritztheaterfoundation.org/

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

 

If you miss the show, you'll be letting the whole team down!

And We Are Back

This morning we returned back to rehearsal. EEE typically takes August and September off to rest, recoup and start plans for the following season. This year is going to be jammed packed and it will all culminate with our return to the Minneapolis Ritz Theatre July 15^th – 18^th, 2010, with sneak peaks available throughout the year.

It is true that as we returned to rehearsal in October that most of us had to drive through snow, which was a little strange. Even though it was freezing outside it was so wonderful to be back in a warm studio dancing with the EEE dancers. We have two new wonderful additions to our group. Both Vanessa and Sarah were thrown in to a full day of rehearsal and did a fabulous job.

The two pieces we started this morning were a ton of fun to watch unfold in the studio. One is about getting yourself in situations where you keep putting your foot in your mouth. For a split moment you may feel so incredibly cool, but in the end things come out of your mouth, that proves the opposite. The other one will be our first attempt to do a full piece, jumping, turning and throwing our bodies around in high heels. It will be interesting to see how it goes.

I never know as I dance around in my living room what will work and what just looks good in my head. I will listen to a piece of music over and over, and just see the images unfold in front of me. It is exciting to put those ideas on our dancers and see where they will take it.

This year we will be working on four new pieces including a chance to work with jazz legend Zoe Sealy. What a dream come true! We will also be working on a piece that will test whether sports have the power to solve all of the world’s problems. Any thoughts out there on that?

So we are back! Check back often as I, dancers and members of the EEE Arts Advisory board blog about our experiences.

Eclectic Edge Ensemble's 3rd Annual Dance Cabaret/Silent Auction

SATURDAY, JUNE 20TH, 7-10PM
@ the historic CASKET ARTS building: 681 17th Ave NE Minneapolis, MN
(corner of 17th and Jefferson in Northeast Minneapolis)

Tickets $10 at the door
The evening will be filled with LIVE MUSIC, a DANCE CABARET made up of EEE repertory and choreography by company members, FOOD, DRINKS and a SILENT AUCTION that all support Eclectic Edge Ensemble’s upcoming production; "Reeling Over Love" July 16th-19th at the Ritz Theatre in NE Minneapolis.

Mark your calendar and join us for a fun and fabulous night! Thanks for your support!

Back in the swing of things

It is so wonderful to be back in rehearsals with Eclectic Edge!  Needless to say, I am so excited for our show this summer. The work thus far is proving to be some of Karis' best, and is sure to give audience members of all types something to muse over.

Personally, Karis constantly challenges my sense of rhythm, and use of music. This is one of her strongest suits choreographically, and "#44," a piece we're currently working on, is no exception. The physicallity of it is actually quite extreme in parts, while in others, the footwork is challenging musically.  I've said, "can you show me that again?", more times than i'd like to admit! :)

I am loving the duet that Jeremy B. and I are working on, entitled, "I Know." I feel so personally connected to this piece, even after only four rehearsals. Jeremy and I have never danced together before, but the chemestry is very natural, and I feel extremely invested in the development of the movement and our relationship. Karis has taylored this piece to us perfectly, and when I'm dancing it I feel exposed, and am transported to a very meaningful place. What a gift to receive from a choreographer! She has indulged my love of contraction, pared with lenghtened limbs of extended energy. After working with Karis for four years now, she has me totally figured out!

We are also gearing up for the fundraiser set for June 20th that will include a performance, silent auction, and of course, great food and drink. We had a grand time last year and are looking forward to this year's event being even bigger and better.

Finally, I must mention all of the wonderful new members we've welcomed to the company this year. We are so fortunate to have so much of the fabulous talent in the Twin Cities dancing with us, and it has been a pleasure working with them thus far. They each bring something different to the table, which is what is so cool about this company. (I will spare you from using the word "eclectic" here.)

In Light,

Allison Doughty

Behind the scenes at our photo shoot!

Recently we had a photo shoot at Lace/Hanky Photography for our upcoming Summer show.

To see more Behind the Scene photos click here.

And Your Name Will Be...

Naming a piece, be it the title of a little jig, epic 30 minute saga or the one thing that needs to encompass your entire show, is a quite difficult task. Sometimes they just jump in your head and you know it is perfect. I enjoy when that happens...no sweating, loss of sleep. The name just comes to you, and you feel like it is a perfect fit. Well, that is not always the case.

Sometimes it takes days, weeks, or as in this case months. I find myselfasking everyone I know for their suggestions. This can be from family members, friends and co-workers to waiters, cashiers and even my dentist, for their thoughts on titles. For some reason it just needs this much research. Well at least I am getting better at giving the 30 second synopsis of our summer show. I will quickly explain what the piece is about, what music we are using, and then ask people their thoughts on a title. This has proven to be very helpful in the past if my brain becomes road blocked on a title.

Or maybe sometimes you just need a vacation. Maybe you need to feel some sunshine on your face, and a cool breeze of relaxation to clear all of the past thoughts and doubts. Just some time to breathe, and not be running from one job to the next. That’s it a vacation is a must! I wonder if there is some way to work that into proposals...a needed getaway for creative rejuvenation. I highly recommend it. Now I feel ready to tackle new pieces, and have come up with ideas that I am really excited about. I think it is important for everyone to just take some time to refuel; otherwise you get to a point when you are running on empty.

So here is the title: “Reeling over Love.” It is gong to be a fun show, and I hope to see you all there. MN Ritz Theatre July 16^th-19^th, 2009!

May I have this Dance?

Welcome to the new Eclectic Edge Ensemble website and our brand new blog. I have bold goals in writing weekly updates on events, productions, research and process. Please stop by often to read about what’s going on and coming up for EEE.

I’ve never written a blog before, so this will be a crash coarse; here we go....

I have been very fortunate with Eclectic Edge Ensemble. Since I was young I have always wanted to have my own dance company that produced work in both concert dance form and theatrical movement based productions. I started producing my choreography while I was working on my undergrad at the University of MN. The summer after my freshman year I produced my first show at the Saint Paul Student Center, and I was hooked. Since then I have been creating and producing work consitantly every year. In 2002 upon graduation I created Eclectic Edge Ensemble that performed in the MN Fringe Festival 2002.