Kinetic Kitchen

Hey y’all! Kinetic Kitchen tonight and tomorrow, 8 PM, give us a holler if you want to volunteer, you know the drill! For more info, check out the calendar at patrickscabaret.org, and stop by for some dancing awesomeness!!

Belated Kinesis

Hey y’all! Wish I could be here this weekend, but my big sis is graduating! I hope you all enjoyed the awesome Noche Hispana Seis and the equally fantabulous Artwurst this past month. Here’s a delayed interview tidbit from Sarah LaRose Holland, curator of our ever-popular Kinetic Kitchen series:

1. How has Kinetic Kitchen as an event changed since it first started?
I don’t think the Kinetic Kitchen has changed all that much as an event really. The series was started as a way to bring choreographers together to share their dances and it continues to do just that. The location of the series has changed, and the support from Patrick’s Cabaret has really helped to allow the series to thrive and continue. The actual event itself I think is the same intent as it was since the series was first formed.

2. Do you have a vision of where it’s going in the future?
In the future, I would like to be able to provide more Kinetic Kitchen shows per year. There is a high demand from artists with interest to show work. I’ve had a waiting list since last fall, and when more shows come available they will fill up quickly. I would like to be able to provide more Kinetic Kitchen shows each year to allow access to more artists.

3. Your favorite thing about it?
My favorite thing about the Kinetic Kitchen is bringing together choreographers and audience. The series has developed it’s own niche in the community. I enjoy when the show opens and the dances are first seen by audiences. Both the performers and the audiences are very excited for the opportunity to show work and to see the work. I also enjoy introducing the performers in the show to eachother. It’s important to me that artists engage with the people they share the stage with.

Eclectic Edge Ensemble

“A contemporary jazz dance company with a diverse repertory, Eclectic Edge Ensemble collaborates with local musicians, choreographers, and other artists to create musically and theatrically inspired work. The company aims to present a fresh perspective on jazz dance in the Twin Cities, creating accessible performance experiences that connect to audiences through the pure joy of movement.”

Last time you saw Eclectic Edge at the Cabaret was the March Kinetic Kitchen. Karis Sloss says, “It was such a wonderful experience to be a part of a show that embraced so many forms of dance, and brought artists together to watch and support each other.” She immediately asked Sarah, the guest curator,  if they could be part of it the next year, and Sarah agreed.

Sloss, who has been dancing since the age of two, formed Eclectic Edge Ensemble the spring of 2002, after graduating from the U of M with a major in Dance and Theater Arts. “I have always known that I wanted to have a dance company that was a true ensemble and explored different forms of jazz,” she says. “I am so fortunate to have such a talented and supportive group of dancers. They have really helped me get EEE off the ground and moving forward. I have kept focused on all of my goals, and we keep plugging away.”

The piece they will be performing this weekend is called “Common Ground.” With music by Regina Carter–“rich with layers of differing rhythms, beats and melodies”–ten women explore “outer expression of control and strength, to inner feelings of fears and questions, and finally celebration and joy with others.”

For more information on Eclectic Edge, check out the website (www.eclecticedgeensemble.com), and be sure to attend their upcoming prdouction at the Ritz “For Sports’ Sake” July 15th-18th, 2010.

Kinetic Kitchen–Ray Terrill Dance Group

Yup, it’s that time again–Kinetic Kitchen!  Head on down this weekend for a whole lotta awesome. You will not be disappointed.

Ray Terrill took his first modern dance class, at the age of twenty-two, entirely by accident– and “instantaneously recognized that I was home.” He knew that dance was it for him, that it would “without question would sustain my interest and passion for the rest of my life.” He has been dancing for thirty-three years now, so it looks like that’s holding true! He fnished, “Creating and performing dance provides complete intellectual, emotional, spiritual, and physical fulfillment offering the opportunity to explore humanity.”

He has previously performed at the Cabaret as part of the Christopher Watson Dance Company, and his own group was onstage as part of a modern dance showcase a few years back. He originally moved to the Twin Cities because he intended to quit dancing. He was getting to a certain age; support for the arts in general, and funding for modern dance in particular, had reached a low point; and he didn’t relish the struggle of establishing his cred in a whole new town. As far as dancing went, he was going to be done with it.

Fate laughed really, really hard for awhile, and then got him a ticket to the Christopher Watson Dance Studio grand opening.

Long uneasy with a dance-less identity, Ray pondered taking some classes–and eventually ended up a member of the staff. Later Christopher invited him to perform with his company, and then to join its board of directors (he is still a member). However, “while I enjoyed performing with Christopher, I did miss the creative side of dance. So, gradually I began to make dances and formalize commitments to dancers.” Eventually it turned out that the Twin Cities had an infrastructure that could sustain far more dancers than that in Seattle or Portland. “At this stage of my dance life I am completely happy to work my day job and be able to produce my own work and present in showcases and fringe festivals. My feeling now is to just keep going until it feels right to stop.”

Let’s hope that’s a long ways off yet. But just in case, come out this weekend to see his group perform “State of Grace!” You will be moved.

Time to lock myself in my room and listen to “Breathe” on repeat

…yep, it’s finals time.

On the bright side, both my shows went great! And are over! So while this week I won’t be bringing you any previews due to frantically studying and writing papers, I will be at the show to coordinate volunteers and gawk at the awesomousity of Kinetic Kitchen. And I’ll do my best to bring you a late Friday/early Saturday review.

Live long and prosper!

Erin Drummond

This will be Erin Drummond’s second time at the Cabaret, having performed in “Love Songs” by David DeBlieck earlier this fall as part of our recurring Kinetic Kitchen series. But her dance career stretches back much further, having begun at the tender age of eight when she took a ballet class because her best friend Laura wanted to take it. (Hey, that sounds like how I got into Doctor Who…) Her work is constantly evolving; one interest that currently drives her work is the body’s sensorial relationship to place: “there is a split second lag between the energy field around your body and the electrical activity in your brain.  We sense the world before we process it on a cerebral level, and this fascinates me.  I am interested in the forms, movements, energies, and qualities that can emerge from a sensorial exploration- even with the very air, movement of our blood, and resonance of our bones- before the thinking mind gets involved.  I nurture this connection by using an intuitive form of directing in the rehearsal process, and then refining the work from there.” Erin is also interested in how a dance formed in interaction with one place is changed when transplanted into another, as it will be this weekend when “Laoi na Mn Mora” (which grew out of reciprocity with the sea) comes to the indoor performance space of Patrick’s Cabaret. 

Erin has had the opportunity to investigate these interests in many different locations. In 2004 she was study abroad in Samoa and interviewing local Samoans about their experiences with aitu (spirits) and as the culmination of the project, she put together a performance piece integrating local legends and dance with her own performative voice, entitled “My Ancestor is a Cloud.”    In 2007, a composer friend of hers who was working for a dance/theater company in Bangkok invited her to come work on a project commissioned by the UN.  She remembers many of the UN delegates insisting that the dance performance should not be included in their ceremony, because the issues were “too important for art,” whereupon Angh, the woman largely responsible for starting  the commission, replied, “these issues are so important, we need every avenue possible to explore them!”  This was a moment that greatly inspired Erin, and after seeing the devastation of the recent tsunamis in Southeast Asia and Samoa, she says she is further impassioned in the exploration of artistic forms- esp. through relationship with place- as an invaluable way to tune into otherwise unseen possibilities for the climate, earth, and ourselves.

I think I’ll let her close this out: “As much as I may try to describe my work in words, the life of it is in the thing itself.” To see the life of the thing, head down to Patrick’s Cabaret Friday or Saturday. Have fun!

Kinetic Kitchen Interview with Karis Sloss

Karis Sloss

1. What is it that you love most about the artistic work you do, and why?

I have wanted to choreograph since I was very young. My inspiration has always come from music. When I hear a great piece of music I am just flooded with movement ideas. I feel my work lives in the jazz genre of movement with breaths of other genres. I love the artistic work I do because I feel that it is accessible to audiences. I try to be eclectic in my pieces, so that they are completely different from each other. Audience members can usually find at least one piece that they can feel or relate to.

2. How is performing at Patrick’s Cabaret different from doing so at other venues?

This will be the first time we perform at Patrick’s and I am very excited to be a part of Kinetic Kitchen. I am excited to be a part of a collection of work along with other talented choreographers. It is different performing as a part of Kinetic Kitchen because in this production I am working only as the director and choreographer; I am not having to worry about everything else that goes into producing, as I do in our other productions.

3. What would you say are the major influences on your work?

I think that major influences in my choreography has to be music. Music is my number one influence with a close second being my company. They are so dedicated and present in all of our rehearsals. Putting chopreography on them and seeing how they respond and their passion is truly inspiring. Then I have to tip my hat to all of the choreographers who continue to have a huge influence on me: Jack Cole, Ben Fosse, Jerome Robbins, Garth Fagen, Zoe Sealy, Lewis Whitlock and Daniel Buraczeski.

4.What is one thing about yourself, your work, your philosophy, whatever, that you think should definitely make it into the blog post?

My philosophy in life is keep your dreams close, clear and keep pushing forward, don’t wait for them to happen, make it happen. I am lucky to have the dancers, composers, designers that give so much time, energy to my labor of love EEE. EEE is a close family. When you are lucky to find a group of dancers who are so passionate and dedicated everything else just falls into place. I want them to know how much I appreciate them, and I want to treat them with repect and gratitude. Any successes that EEE has goes to them.