Voices del Camino: When the personal becomes the artistic becomes the personal again...

On the series: Voices del Camino is our series of stories and reflections from the company, while on tour. El camino, in Spanish, literally means "the road"; but el camino is also the journey that we're on towards witnessing, creating, and sharing the beauty and complexity of humanity, and towards transforming our world through love and movement.

Bentonville, AR | When the Personal Becomes the Artistic Becomes the Personal Again..., by Bianca Medina

During our performance at the Art of American Dance festival at the Crystal Bridges Museum of Art in Arkansas, I had the honor of dancing the character role of Caliban 3. Caliban 3 (one of 4 Calibans in Agua Furiosa) is a militant revolutionary trying to navigate how to fight for justice, but on that path ends up losing control and abusing power. Caliban 3 is originally danced by a male, so as understudy, I had to quickly understand what I was taking on, as a female Caliban 3. Now, this is a whole other blog post in itself, but what it means for Caliban 3 to be a woman, a woman leader, during this country's current state of affairs is something bigger than I can fully express right now. But as an artist, that is something I have to continuously do in each role I perform—truly understand and embody what my statement is on the stage.

My character literally runs herself dead at the end. So, it was a true emotional roller coaster during that experience, to say the least. But that's the beauty of art--it transforms us, personally and collectively.

It's a powerful ride when your artistic life, personal life, and the life of this big world around us come together. And speaking of art bridging life and life bridging art…  

I studied visual art heavily throughout my life, and spent so many years walking through museums, analyzing art and art history. I also studied dance history heavily as a dance major in college, reading lots of books, doing research, and writing papers on the pioneers of dance.

After we performed in Arkansas, we were able to walk through "The Art of American Dance" exhibit. On the walls were paintings, photos, videos, artifacts, set pieces, and costumes worn by some of the most significant pioneers of dance - Katherine Dunham, Martha Graham, and Merce Cunningham. The exhibit also brought up conversations around the political birth of social dance forms like Jazz and Hip Hop, the depiction of cultural & racial inequality in the rise of dance, and how many of the pioneers in Modern dance were women. 

Personally, that exhibit walk-through truly felt like a bridging of my visual art & dance history, years of education in museums, years of study in the books, in the studio, and on the stage - all in one night. It was a beautiful little remembering that my life has always been so interwoven with art. It’s what has kept me going, striving, malleable, discovering, and wanting more out of life.

To be a company member in CONTRA-TIEMPO and to be associated with this exhibit as a live performing dance company representing American Dance in this country right now is an honor. Being a part of this during this specific time where the creation and performance of art is crucial to the connection and social change moving forward in this country, is a mighty grateful, humbly proud, “Ay! Dios mio, pinch me!” moment in my career as a professional dancer.

#ArtTransforms #ArtOfChange #Artivist #DanceYourTruth #AguaFuriosa  

On Mentoring and Being Mentored

On Mentoring and Being Mentored, by Ana María Alvarez

Whenever I'm asked to speak on panels or at conferences, as a “mid-career” or “established” artist and an “expert” in the field, I always get a little tinge of "imposter syndrome'. My father always told me that curiosity about life and a hunger to grow were things that you should never lose as long as you live. I’ve taken that to heart, and so I always feel like there is so much more work to be done, so many more things to learn, so many more ways that I need to grow and expand as an artist and human being. In that way, I still very much feel like I’m at the beginning stages of my career as a choreographer. 

I finally got to meet my mentor, Liz Lerman!! 

That being said, I know there are things that I can share and contribute to help others in their journeys through life, and I know that many younger artists and activists consider me to be a mentor. 

How I reconcile this feeling is that I never show up with an answer. I always show up and simply listen. I listen to what gets another person curious and interested; I focus on being really atuned to what it seems gets them excited. And then I ask questions and respond to what I’m hearing. This practice of listening before contributing has shown up in a lot of areas of my life—with my dancers (during company and individual check ins), in my classes (assessing prior knowledge and finding out what they are excited to get out of the experience), in my marriage (it's a great practice in partnership, though admittedly, some days I do better than others :-)... 

The practice is rooted in and inspired by Liz Lerman's “Critical Response Process” (CRP). CRP is an inquiry-based feedback system that’s been in use for over twenty years, and has been embraced by people in the art field, in science, in education, and beyond. It’s hugely valuable in all kinds of creative endeavors and collaborative relationships for folks of all ages. It’s a critical communication skill.  And Liz Lerman, who I consider to be a true “expert” and established artist has been a huge inspiration and guide for my creative and community engagement throughout my career, being a mentor without us ever having spoken or met (I even give her book Hiking the Horizontal as a gift to friends and colleagues at least a few times every year!!). 

So, imagine my absolute excitement when I was reviewing the schedule for our upcoming tour to Tempe, AZ and heard that Liz Lerman was now teaching at Arizona State University at Tempe! I immediately called our presenter at ASU and asked if it might be possible to set up a time to have a meal or meeting with her. It was a bold move, but I figured it was now or never. I always believe life (the Universe) happens the way you create it and believe it to be, and I've been “creating” for years to meet Liz! Michael, our presenter, said it wouldn’t be a problem, and so on a warm November morning I found myself waiting at a diner to meet this incredible artist and mentor! 

Liz holds my baby boy, Luca. :-)

When she walked in I knew immediately we were going to be friends; she has such a warmth and light surrounding her. We talked and laughed for an hour that passed way too quickly, and at the end of the meeting, when Luca (my baby boy who was 2.5 months old) woke up, she even held and loved on him! 

Liz came to our Agua Furiosa show and offered to connect again. She then gave me the gift of all gifts—she went through the Critical Response Process with me in talking about "Agua Furiosa”! It's been an amazing opportunity for me to see places where I am 'stuck' and get answers to burning questions that I wasn't sure who to ask or how to answer. This whole experience has made me so much more thankful for her Liz and her work, and also so clear that I am a better mentor because of the incredible mentors and powerful leaders (mostly women) that I've had in my life. 

Here’s to continuing to mentor and be mentored! 

Receiving the NEFA National Dance Project Award!

We've been sitting on this tid-bit of info for a few weeks, but now we can finally announce... CONTRA-TIEMPO has received the prestigious New England Foundation for the Arts' National Dance Project grant--for the second year in a row! We are honored to be named alongside a cohort of other extraordinarily brilliant dance companies. This two-year grant will help support development of our next evening-length work, joyUS.joyUS takes on the idea of joy as the ultimate expression of resistance, using social dance forms of people of color in this country as the root.

The work will be developed as part of the Movement to Movements project we're building in South LA with the Community Coalition. We look forward to sharing the JOY with you, as it develops! 

Dancing Into My Futuro

On Friday, April 15, 2016, CONTRA-TIEMPO Futuro Junior Company performed excerpts of "I Dream America" (choreographed by Ana Maria Alvarez, under the direction of Jasmine Burgos) as part of the LA Dance Festival (produced by Brockus). The following is a reflection on the experience by Futuro Junior Company member, Brianna Thorpe.

Dancing Into My Futuro, by Brianna Thorpe

If you would have told me four years ago that I would be performing with CONTRA-TIEMPO Futuro at the 2016 Los Angeles Dance Festival, I would have said, “What is CONTRA-TIEMPO???” 

I started dancing Salsa when I was in the 11th grade and I immediately knew that this is something I would be dancing for the rest of my life. When I started college, I became heavily involved in the Salsa scene on campus, and I gained a lot of new insight into this beautiful dance form. 

About two years into this dance journey, I had the pleasure of being introduced to CONTRA-TIEMPO and seeing their performance of “Full Still Hungry”. For me, it was love at first sight. I had seen other Salsa performances, but I had never seen anything like this. After talking to the company about their work, I knew I had to get involved. So, I applied to their Futuro Summer Dance Intensive. I was accepted into the program and spent two weeks learning from the company. 

At first, I was very reserved and unsure of my abilities. I had danced Salsa before, but I had never even heard of modern dance, let alone danced it. Despite this, I took a leap of faith and dove head first into the work.  After the summer intensive ended, I was left feeling empty—like an entire chapter of my life had ended. I needed more! Fortunately CONTRA-TIEMPO was holding auditions for their Futuro Junior Company, and I decided to go for it. 

I truly consider deciding to train with Futuro as the most pivotal moment in my dance journey. Looking back on these last nine months, I am amazed by how far I have come. Everything I experienced during that time came out on stage, as we performed excerpts of “I Dream America” at the LA Dance Festival. 

We trained for months, working on intention, working on technique, and learning how to dance as a company. The performance was my first major performance ever and so it was incredibly important for me get it right; not only because I didn’t want to embarrass myself, but because the stories that CONTRA-TIEMPO tells through movement are so incredibly important. Those stories need to be honored. By the end of the performance, I knew we had done the work justice, and all the doubts I’d had in my abilities disappeared. 

I have taken this renewed sense of confidence and am continuing to explore and let myself open up. I am so grateful to CONTRA-TIEMPO for providing me a space to grow. There is no doubt in my heart that while we are a company, we are also a family. I am so incredibly blessed to have the support of so many individuals through this journey. In my opinion, this is the greatest success of the Futuro program. It connects you with people that have such a passion for the work and for dance. It allows you to become inspired, push yourself, explore, try new things, and allow yourself to be vulnerable. 

Though I have a long way to go on this journey, I owe my current growth to CONTRA-TIEMPO Futuro and I am grateful to have stumbled upon it when I did.

Voices del Camino: Compassionate Community at NCSU

On the series: Voices del Camino is our series of stories and reflections from the company, while on tour. El camino, in Spanish, literally means "the road"; but el camino is also the journey that we're on towards witnessing, creating, and sharing the beauty and complexity of humanity, and towards transforming our world through love and movement.

Raleigh, NC | Compassionate Community at NCSU, by Ana Maria Alvarez

North Carolina always feels like a bit of a homecoming for me (afterall, my brother and I were born here, my parents met here, and I went to high school in Greensboro). I get excited by coming “back home”, but also a little nervous. I have some violent memories of this place from childhood (enough to fill a whole other blog post or two), and recently North Carolina passed one of the most horrendous pieces of anti-LGBT, anti-worker legislation: HB 2, the Public Facilities Privacy & Security Act. This Act:

• requires transgender people (and everyone else) to use public restrooms according to the biological sex on their birth certificate

• strips North Carolina workers of the ability to sue under a state anti-discrimination law

• bans local minimum wage laws like the $15-an-hour "living wage" ordinances gaining traction around the country. The state minimum wage is $7.25 an hour.

Our dancers lead a Salsa Rueda class in the NCSU Commons

The week we were gearing up to come out to Raleigh, the start our four-city tour (supported by the South Arts Dance Tour Initiative), other artists were beginning to cancel shows, boycott and create economic sanctions for NC, to send a strong anti-HB 2 message. Our work has always been about creating dialogue and building compassion and community, though, so we knew that now, maybe more than ever, we NEEDED to be in North Carolina. We rolled our sleeves up and got ready for the work we had ahead of us. 

I had visited Sharon and Stephanie and their team at NCSU in October 2015, to plant seeds for a powerful (albeit brief) residency in Raleigh that included several lecture demonstrations, master classes, community meet-and-greets, lunch meetings and a choreographic lab. 

CONTRA-TIEMPO shares smiles with Dr. Alison Arnold

We found the students that we met on campus to be bright, engaged, politically conscious and fired up. They had so much to share and teach us about HB 2. We learned that the NCSU Student Senate had voted to ignore the legislation, deeming it unconstitutional, against Federal law, and against the anti-discrimination policy at NCSU! We heard about the struggles they were having to advocate for true diversity on their campus. We met future engineers, designers, and architects who will be designing levies and water treatment systems and who felt frustrated that in their chemistry classes, although they were learning the equations for how to measure contamination in water, they weren't talking about Flint. We encouraged them to start those conversations with their professors. It was exciting to meet young people who were so clear about their own personal responsibility to positively impact this world. 

The dialogue is happening. The compassionate community exists. And we’re honored to be part of it and help continue to move it forward. Thank you, NCSU!

(Mother Jones article on HB 2)