Hometown: Natick, MA
Current city: Oakland, CA
Age: 40
College and degree: Rutgers University, BA in Dance, BA in English Literature, Minor in French Language & Literature
Graduate school and degree: University of New Hampshire, MEd in Secondary Education to teach English and Special Education; I entered the program when I was 24 years old.
How you pay the bills: Managing Director of Shawl-Anderson Dance Center, Berkeley, CA – a non-profit dance center
All of the dance hats you currently wear: dancer, arts administrator, publicist, event producer, grant writer
All of the dance hats you have worn: all of the above plus teacher, choreographer, graphic designer (primarily for dance events)
Non-dance work you have done in the past: in no particular order…receptionist, laboratory assistant, special education teacher, general administrator, afterschool program assistant, cleaner, gallery manager, development manager, restaurant hostess, grocery checker, sales clerk (in a dancewear shop…my first job at 14!)
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Photo by Pak Han, courtesy of Paufve Dance; Rebecca Johnson, far left
What is the key to being a multitasker/ball juggler/wearer of multiple hats?
Find a way to be both organized and loose simultaneously. Some things get done by checking them off a list and others need intuition and inspiration. Understanding the difference and being able to toggle back and forth allows you to give the task or endeavor you’re tackling the right treatment.
Multigenerational dance has been a part of your life for many years. Can you talk about this?
I found modern dance at age 14 when a former jazz teacher recommended I take an audition class with a nearby modern company. I had trained in ballet intensively for over 5 years and it had left me disappointed, though I still wanted to dance so much. I began dancing with women in their 30s and even 40s in their company, Moving West, out of Framingham, MA. This was a life-changing experience. They were my role models through my teen years, and my friends. I learned at a young age that the bonds built amongst modern dancers allow a transcendence of the usual structures of age, family and friendship that I immediately loved. It was a critical part of my life. Now working at a dance center that is 54 years old, my dance family and friends span many generations. Some of our teen dancers began taking our adult classes in earnest during the holiday break. It’s inspiring to learn from bodies moving in space of all ages. Dance is so often viewed as a young person’s sport, but I think modern dance in particular shows us what we can learn from the moving body across the decades. This continues to open my mind as both a dancer and person in a way that I find unpredictable and cherished.
What would you say are your strengths as a dancer?
First and foremost I care about the dance itself, more than the performances, accolades, applause or any other end product. Keeping the dance itself first and foremost in my mind allows me to do the work of exploring each moment, staying honest to the movement and being a good partner to my colleagues and choreographers. This is the integrity I look for in other dancers and what I love most to share whether it’s in class or rehearsal. It’s a little hard to explain, but it’s dancing for dance’s sake, perhaps. In terms of movement itself, my biggest strengths are: 1) eating up space and moving big; 2) picking up a lot of material quickly; and, 3) being willing to insert my voice into the movement I’m given – this is where I find great satisfaction.
Photo courtesy of Nina Haft and Company
You have worn so many hats within the dance world – performer, choreographer, producer, grant writer, and much more. Can you talk about the “how and why” of this? Have you enjoyed this, and why?
I did two majors in college and I’ve always been a thinker that connects ideas into a broader picture, rather than one who narrows it down. This trait has led me to naturally enjoy wearing so many hats. When I graduated from college I sat down with one of my dance professors and was confused about the notion of a single career path: just pursing dance, or just teaching school or whatever the many singular options I had in mind. I found this notion to be scary. My professor suggested that maybe I didn’t have to give up one thing to pursue another thing to be successful. While this advice was confusing at the time, I think it was some of the best I received around the time of graduation. I’ve held that idea close to me and it’s allowed me to fulfill my love to wear many hats, learn new skills and play different roles in the dance world.
You are so quick at picking up movement. What is the key to developing this skill?
I think partially this comes from having started some pretty sophisticated modern training during my teen years. Rather than dancing from a template of dance vocabulary, I had to jump into more abstract and unpredictable sequences at an age where my brain was still developing! This was a bonus I wouldn’t have anticipated at the time. The point in my life where I more intentionally developed this skill was when I began taking class in NYC after graduation. I would go into the city to take class on Saturday. The teacher taught 4 days a week and his combination would build and add on all week so on Saturdays I would get the full combination in one shot. This was extremely humbling and critical to developing this skill. You have to fail, err and be uncomfortable at some point in order to break past your current ability in this area. You must. And it will give you a good sense of humor if you don’t get down about it!
The dance world is small. How do you balance being someone’s friend as well as our changing relationships as dancer/choreographer and employer/employee?
I’m learning every day. It takes a lot of emotional sensitivity and tact. Knowing when to hold the boundary and when to cross it can only be done successfully by being in the present. Building trust in these relationships is key because eventually something will go awry and the trust allows us to forgive each other when communication fails. And move on to the next class, rehearsal and dance moment together, which is ultimately why we are all there.
What are 3 life skills you think a modern dancer needs in 2013?
Beer, socks and coffee. Oh, you said skills. Solid people skills, good boundaries, a rich imagination.
What are 3 skills/techniques/etc. you think a modern dancer needs in 2013?
Open-mindedness, articulate in speech and writing, accepting of your body
What do you enjoy most as a performer?
I used to be sort of ho hum about performing. I loved dancing but performing didn’t motivate me. As I got into my 30s, I realized how powerful this dialogue is between audience and performers. Now that is what I love most about performing. Listening for the audience’s energetic response and allowing that to move me.
How are you continuing to grow and develop as a dancer?
I used to think about dancing as playing with gravity and all of the natural forces as on a playground. Recently, I realized that it’s more like gravity and the natural forces using my body as a playground. This has opened up a whole new way of moving. It’s now a give and take in a way I never experienced before. I believe in the molecules around me, that they are supporting me and dancing with me. I don’t exist in a vacuum. This is taking my dancing to a new level, which is wonderful given that I’m 40 and losing some other general dance assets gradually (flexibility, strength).
How are you continuing to grow and develop as an arts administrator?
A lot of my current challenges are around managing people. This is a much tougher task that we often anticipate. I seek advice and support around this. I am reminded that I don’t always make the right choices and it’s important to both learn from these moments and let go of them. I’m excited for how ongoing reflection on this and maybe some workshops and mentoring will help me develop in this area.
Advice to young dancers curious about arts administration and the non-profit world:
The arts administrators I admire most are one part people who can “do” and follow through; one part community leaders; and one part artists. Continue developing practical skills, people skills and your knowledge and passion for the art, whether that’s through school, internships, networking or just your own study. There’s not enough time in a day to do all of this, but try anyhow. You will feel full and grateful. This will show through in your commitment whether seeking a job or in a position.
Final thoughts:
Success is truly self-defined in this small world of modern dance. There are many ways to find fulfillment in it, and I’m pretty certain none of them fit the paradigm of what most Americans would call success. It takes courage to release the typical goals our culture hands to us and find a community that shares your values, but it can be done. It’s a radical existence, and engaging in it can make a difference by bringing more heart and soul to our community.
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