Chicago Dance Scene — Beneath the White City Lights
Christopher Kai Olsen is an Emmy Award®-winning Chicago filmmaker that I thought readers here might be interested in learning more about. Last year he created almost 50 minutes of original film projections for Thodos Dance Chicago’s multimedia story ballet. The White City: The Columbian Exposition of 1893 is an original work – set against the backdrop of the famed Chicago World’s Fair. It was co-conceived and choreographed by Melissa Thodos and Tony Award®winner Ann Reinking.
Thursday, February 23rd, Chicago dance lovers will have the chance to see Beneath the White City Lights: The Making of an American Story Ballet at 10:30 PM on WTTW11. As part of the story ballet creative team from its inception, Olsen was afforded unprecedented access to the visionary endeavor, and in addition to his own artistic process, began documenting the making of the ballet, from concept, through rehearsals to its March 2011 premiere at the Harris Theater in Millennium Park.
The one-act ballet chronicled in the film brings the 1893 Columbian Exposition to life through dance, in a story filled with passion, ingenuity, intrigue, and murder. Its cast of historic characters includes famed architect John Root, ill-fated Chicago mayor Carter Harrison, Sr. and America’s first serial killer Dr. H.H. Holmes, who preyed upon young women amidst the chaos of the World’s Fair. (The film’s dramatic crescendo is danced inside Ms. Reinking’s inventive interpretation of Holmes’ claustrophobic “Death Box”).
We asked Christopher a few questions about the project, which he answers for us here…
Christopher Kai Olsen, Melissa Thodos and Ann Reinking
Can you tell readers how you came to be involved with this project?
I first began working with Melissa Thodos, Ann Reinking and Thodos Dance Chicago back in 2009 on “Fosse:Prelude”, a short film about three Bob Fosse dances featured during their 2009-2010 season. Collaborating with TDC during this project was such an incredible experience that I jumped at the opportunity to work with them again on The White City the following year.
What is unique about this film?
With “Beneath The White City Lights”, I had the rare opportunity to film from inside the experience itself, allowing audiences to see The White City through the eyes of the dancers, choreographers, and designers who put their heart and soul into the production.
What did you find interesting about working with dancers?
I have a great deal of respect for Melissa’s leadership of the company, and for how her direction has attracted such a spectacular group of kind, talented and hard working dancers. How they manage to perform at Olympic intensity hour after hour, for months at a time, and keep coming back for more (with a smile!) is incredibly inspirational.
Also, as an FYI…the week immediately following the broadcast, The White City stage performance returns to Chicago as the centerpiece of Thodos Dance Chicago’s 20th anniversary concerts. Performances are Friday and Saturday, March 2 and 3, 8pm at the Harris Theater for Music and Dance, 205 East Randolph Drive, Chicago. Tickets, $25-$60, are available at (312) 334-7777, or online at harristheaterchicago.org.
10 Questions With…Nadia Mara
Our “10 Questions With…” today is with Nadia Mara from Atlanta Ballet…
Nadia Mara
1. How did you become involved with dance?
When I was 3 years old my mother took me to my first ballet class and since then I’ve been in love with the art of dancing.
2. What are you currently doing in the field?
Rehearsing Twyla Tharp’s world premiere The P,rincess and the Goblin.
3. Would you share a special moment from your career with readers?
Performing Giselle was very special to me. It was my first full length ballet and It was very challenging! I did a lot of research on the role during the previous months, watched many different versions, spent hours in the studios trying to make it as perfect as I could. After the show my parents were very proud and gave me a big hug and a beautiful bouquet of flowers. I still keep one between a book’s pages.
4. What is the best advice you have ever received from a teacher or mentor regarding dance?
Student Spotlight: Kimberley Harvey
We have another student spotlight to share with you today…Kimberly Harvey…
Kimberley Harvey
1. Can you tell readers how you became involved with dance?
I first became involved in contemporary dance 11 years ago; when I joined Candoco Dance Company’s youth dancecompany, Cando2, back in 2001. I was one of the founder members of their youth company.Over the years, Cando2 has had the opportunity to create a variety of pieces with different choreographers; and have been lucky enough to perform in an array of environments and venues, including at The Royal Festival Hall, London Contemporary Dance School, and The Lilian Baylis Theatre in London; at various youth dance festivals and as part of The JamFree Tour.
From there, I then successfully auditioned to study on Candoco Dance Company’s Foundation Course in Dance for Disabled Students. I have gone on to be an Associate Artist with CandoCo. In addition to my work with Candoco Dance Company, I am also a dancer and co-choreographer in Subtle Kraft Co.
2. What do you find you like best about dance class?
Exploring… The opportunity to move with genuine curiosity and intention, whilst always striving to reach my potential both artistically and technically.
3. What is the hardest part about dance for you?
Trying to avoid the sometimes seemingly inevitable process of self-judgment.
4. What advice would you give to other dancers?
- Make sure you love what you do.
- Find the ‘sparkles of joy’ in each movement.
- Rather than trying make your body do what you want it to do, work WITH your body in that moment on that particular day.
5. How has dance changed your life?
Dance is my life. Dance is where my life has most meaning. It has had a tremendous effect on shaping who I am as a person and as an individual. Through dance I have met people who have influenced and inspired me beyond belief, and I have had experiences that I had only daydreamed about before that time.
Do you know a student who should appear in “Student Spotlight”? E-mail the editor at: editor@4dancers.org to submit their name and information.
0Toenail Injuries in the Dancer by Dr. Sinkoe – Bruised Nail
Toenail problems become a source of concern and agony for the dancer, particularly the ballerina on pointe. Toenails function to improve our tactile (pressure) sensation and to act as a support structure for the toe. This can be helpful for the dancer on pointe. However, because there is a lot of pressure on the nail while on pointe, bruising of the nail can result.
The underlying nail bed is highly vascularized. The nail plate is adhered to the nail bed via small ligaments. Repetitive microtrauma to the nail plate can injure the ligaments resulting in shear stress to the nail bed. A small amount of bleeding occurs under the nail. As the bleeding continues, the nail plate can elevate, producing calloused tissue and making the nail appear thick. A portion of or the entire nail plate can be lost.
This cycle usually repeats itself over a period of time. Many ballerinas accept the fact that they have chronically bruised nails. Long term consequences of a chronically bruised nail can be chronic ingrown nail borders, a deformed nail or a fungal infection of the nail.
Causes of a bruised nail:
0Interview With Author Germaine Shames
Today we are happy to share this interview with author Germaine Shames…
Author, Germaine Shames
What is your background in dance?
Like the protagonist in my novel I began taking ballet classes at the age of four with a teacher whom, my parents liked to boast, had studied under Martha Graham. Like other young girls, I dreamed of becoming a prima ballerina.
But I was not like most girls. Shy, stubborn, I balked at following choreography and often found myself stranded alone on one side of the studio while the class, moving as one body, occupied the opposite side. And then suddenly, before I had mastered a single step, it was time for my first recital. A chorus line of us baby ballerinas was positioned center-stage as the towering velvet curtain slowly, slowly opened. One look at the audience and I froze, mouth wide-open, hands clamped to my cheeks.
My parents removed me from ballet class and enrolled me again thee years later—with similar results. There would be no more recitals.
Flash forward half a century…
I have ripened into, not a ballerina, but a writer with abiding creative and emotional ties to dance and dancers. My forthcoming ballet-themed novel You, Fascinating You will be released within days.
The protagonist of my novel, Margit Wolf, begins the account of her life, “They say ballet chooses the dancer.” Regrettably, I was not among the chosen. How I envy those of you who are!
How did you become a writer?
0Nutrition For The Dancer: Emily’s Apple And Pumpkin Oatcakes
Today I’d like to introduce Emily Harrison, who is sharing a great healthy recipe with us here at 4dancers, as well as talking a bit about nutrition. Part of our health/wellness focus for the month of February. I haven’t had a chance to make the recipe yet, but it sounds delicious and I can’t wait to try it!
Emily Harrison, MS, RD, LD, Photo by Kim Kenney
I am thrilled to be guest blogging with 4dancers.org. As a former professional dancer I learned early on in my career how important nutrition was to my performance. Now as the dancers dietitian, I work with dancers to help them be at their best with fewer injuries.
Nutrition is a complicated science, but if I had to only give one piece of advice it would have to be: “eat breakfast”. I know you all have heard this before, but you can’t minimize the importance of literally breaking the fasting state with a good source of complex carbohydrates.
Carbs have gotten a bad rap in recent years. But in fact carbs are the body’s preferred source of fuel for athletic activity. Complex carbs in whole grains, vegetables, and fruits give the muscles a prolonged source of energy that is critical in the type of start-stop activity we do as dancers. Whole grains are important sources of fiber, B-vitamins, iron, and folate. The American College of Sports Medicine recommends that athletes get 55-60% of their total calories from carbohydrates. Carbs can be found in whole grain pasta, bread, rice, quinoa, barley, all vegetables and all fruits. How can something like that be unhealthy? Sure we want to avoid simple sugars in sweets, juices, soda, refined grains, and baked goods. Those kind of carbs won’t give you enough energy to get through tendus in class. But have three of my oatcakes for breakfast and dance strong all the way through grande allegro.
This recipe has become a favorite of the dancers that I do food demos for. In fact the dancers from Atlanta Ballet’s summer program loved them so much that they set off the fire alarms in the dorms making them the next day:
0Student Spotlight: Chris Scott
4dancers would like to introduce a new feature–Student Spotlight. In this column, we’ll be sharing some information about students from all over–a little glimpse inside their world as they work to move into a career in dance. Today is our first….
Chris Scott
1. Can you tell readers how you became involved with dance?
I was first exposed to dance through the Physical Education curriculum at my local state school. All of the students at my school had to take dance on rota like all the other sports, such as rugby and football. At that time I was playing rugby at a very high level. After breaking my wrist twice in the same year I was forced to spend more time off the pitch, and coincidentally ended up heading to the dance studio for refuge.
The ball just started rolling from there. I was intrigued by what I saw and the dancing I experienced. Even though I was a sportsman as a child, I was always interested in theatre, dance appeared to be the natural and obvious way that both my interests found harmony; it was physically and theatrically exciting.
From there I started joining local youth dance companies and then regional youth companies, eventually I was dancing every day after school with a different group in a different place. Then I decided to pursue it as a career and continued my training at London Contemporary Dance School.
2. What do you find you like best about dance class?
There are countless positive experiences that dance brings me every day, and that truly is the joy of following an art form you are passionate about. But if I were to just consider class, which is a different environment to rehearsal let’s say, it would have to be the simple physical satisfaction the movement brings.
Class is evidently a repetitious process that any dancer endures through their career; the satisfaction of movement keeps me curious. I value being able to step into class, and no matter what challenges and dramas you face in the outside world, the class becomes a time for you to leave it all at the door and bask in the enjoyment of movement. Even though a lot of the time classes present their own challenges, it can become almost a meditation allowing the body and mind to physically and artistically release.
3. What is the hardest part about dance for you?
0Dance Blog Spotlight: Rogue Ballerina
Today I’d like to welcome fellow Chicago blogger Vicki Crain to the Dance Blog Spotlight–
Vicki Crain of Rogue Ballerina
1. Can you tell readers a bit about your background in dance?
I started taking dance lessons when I was little – jazz, tap, tumbling – adding in ballet around 6th grade. After taking a few years off for extra curricular activities with school (choir, band, cheerleading), I came back to dance. I was a founding member of the Decatur Ballet Company (tiny) and joined the Springfield Ballet Company, where I danced on and off for 15 years.
I also performed with the Twin Cities Ballet in Bloomington, IL. I taught jazz, tap and pointe classes and managed the affiliated school in Springfield, while finishing my degree in English. Once in Chicago, I danced for a season with Zephyr Dance and for a number of years with a production company, while also serving as President’s Assistant/Dance Captain/Casting Director/Girl Friday. It was a blast!
2. When did you begin your blog—and why did you start it?
0Treatment of Warts in the Dancer By Dr. Sinkoe
Warts are a virus which infects the outer layer of the skin. They are considered opportunistic and will enter the skin via a small wound or under a callous or blister. Thick calloused tissue grows over the developing wart and is painful. The surrounding area may also feel swollen due to the immunological response of the skin, reacting to a “foreign body”. Warts may occur as a single lesion or may be clustered forming several warts.
Causes in dancers:
0Success and Housewives: Making Modern Dance Make Sense
by Lauren Warnecke
Photo by Kelly Rose of Savage Rose Photography
Perhaps one of the biggest barriers that “normal people” express about going to see modern dance is that they don’t understand it. At nearly every post-show talk-back I’ve ever attended there are at least one or two people who start their comment with, “Now, I don’t know anything about modern dance, but…..” yada yada, you fill in the blank. The standard issue response that I tend to hear is “you don’t have to understand it,” or “whatever you FEEL it’s about, IS what it’s about.”
That is completely true, and something I’ve said myself on numerous occasions. But over the past few months I’ve been formulating a theory that it’s not a particularly useful response. In other words, I’m thinking that “come to this weird thing you don’t have to understand” isn’t as effective a tagline as we’d like to think it is to getting butts in seats. After all, we are all human. We crave compelling stories and generally tend to try to apply meaning to things. Dance, however, often lives in a world of abstraction where the layers of meaning are imbedded in movements and gestures that don’t obviously reveal their stories. That’s what program notes are for…
The problem is, sometimes we (the choreographers) are so lost in the tangled web of ideas and abstraction that we too can’t exactly articulate what our pieces are about. When I gaze into a set of program notes and read that the dance I’m about to see is about a girl’s fiancé breaking their engagement, or satanic cults, or gender identity, I get a little overwhelmed.* Seeing a dance concert should be a relaxing and enjoyable experience that is accessible to everyone, and satanic cults are something I don’t often feel like dealing with on a Friday night. It’s not that these topics aren’t important and can’t or shouldn’t be explored through dance; it’s just that maybe you can find another way to express your idea by pairing it with something a little easier to swallow. Either way, heavy topics often become so abstracted by the time they reach the stage that you might as well say that the piece is about puppies, because the untrained eye won’t really see the difference anyway. No matter the subject, we come up with quips and phrases for press releases and program notes that say sort of what we think our piece is about, but most program notes could really just say “this piece is about whatever you feel it’s about and you don’t have to understand it” (read: “I’m not so sure what it’s about either…”).
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