Photo by Alan DiBerio; Pamela performing her own work, I see/saw
Hometown: Irvington, NY
Current city: Lancaster, PA
Age: 45
Attended an arts high school? Yes, for 2 years (junior & senior years) - Walnut Hill School in Natick, MA
College and degree: Middlebury College, B.A. in dance and sociology
Graduate school and degree: Smith College, MFA in dance (attended age 24-26)
Websites: http://www.fandm.edu/pamela-vail; www.architectsdance.org
How you pay the bills: Primarily from my position as Assistant Professor of Dance at Franklin & Marshall College, and also from professional performing and other teaching
All of the dance hats you wear: performer, choreographer, improviser, teacher, collaborator
Non-dance work you have done in the past: business loan file auditor, barista, dog walker, house cleaner
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Describe your dance life in your….
20s:
A bit flailing, but pivotal—the decision to pursue dance was made. Graduated college, moved to NYC, moved away from NYC, went to grad school, moved back to NYC with new resolve.
30s:
Had hit my stride in NYC (good dance stuff going on in my life), but my supplemental work was tedious, boring and unfulfilling. Tired of stress of living hand to mouth. Applied to teaching jobs, moved to Lancaster (albeit with some reluctance) and began what I thought would be a temporary life as full time a college professor.
40s:
So far, so good. I feel incredibly fortunate to have a job that focuses on dance and that challenges me. I also continue to perform regularly. My teaching life and my professional dance artist life complement and feed each other, and I continue to learn a lot, from both my students and my peers. Very fulfilling.
Major influences:
It’s hard to name only a few, but my professors at Middlebury College (Penny Campbell, Andrea Olsen, Peter Schmitz) have been very significant and lasting influences; also teachers in grad school and many of my peers as well (specifically the Architects). And then there’s the list of historic and current dance artists on a broader level…..
Current passions and curiosities:
Not only practicing performance, choreography and improvisation, but also how we talk/write about those practices. I’ve also been enjoying collaborative dance on camera projects, and exploring dance and philosophy collaborations.
Do you still perform?
Yes. With NYC-based Yanira Castro | a canary torsi, the Architects (performance improvisation quartet with Katherine Ferrier, Lisa Gonzales and Jennifer Kayle), my own work, and various independent choreographers.
Photo from the Architects' improvisation workshop (June 2013)
Can you talk about the role of improvisation in your life – as a movement practice, idea generation, performance, and more?
So important! At first (in college), I looked at improvisation sideways—I thought it was weird (really, it scared me). Now it is central to/in my dancing life (and my life in general). Improvisation is a practice for honing and expanding my attention; it reminds me to be fully present in the present; it invites me both to innovate and also to embrace my “shtick;" it challenges me to take risks; it shows me my own assumptions; it reminds me to attend to my own material while simultaneously negotiating a relationship to others; it confirms the value of practice; the list goes on.
"Chroma behind the scenes"-- production still of Pamela's process with filmmaker Jeremy Moss filming their piece CHROMA (April 2012)
Talk a little about your interest in Dance for the Camera work:
Although it had always been on my radar, it really took hold when I co-taught a Videodance Workshop at Franklin & Marshall with film professor Jeremy Moss. By digging into the genre of dance on camera as teachers, we were inspired and motivated to delve into it ourselves, as artists. In the past few years we have made several videodance pieces that have screened around the world. I am fascinated by the potential of collaborations between dance and the camera—what the art forms of dance making and filmmaking can offer each other and teach each other.
What are 3 pieces of advice you want to give to aspiring choreographers?
1. It is a difficult profession with few rewards (sorry, but it’s true). Only do it if you have to. You will most probably get discouraged, but just keep going.
2. See as much work as possible. It is research! It helps you hone your own voice and identify your own interests.
3. Stay true to yourself (cliché, but important) despite what current trends are or what critics say.
Advice to young dancers on teaching, learning how to teach, and the role teaching will play in their dance careers:
I think the best way to learn how to teach is to do it. It can be intimidating, but trust that you have a certain collection of knowledge that no one else has; also remember that it’s okay to admit that you don’t know everything (no one does!). In my experience, I’ve never learned as much as when I had to start teaching. You are forced to really know what you’re doing, and to articulate it clearly. Teaching can be an important and fruitful part of a dance career. It can help to keep your own practice alive, and also be extremely rewarding and inspiring (seeing dancers develop and grow).
How do you stay current with trends, choreographers, and performances?
I try to see as much work as I can, and read as much current material as I can. I also continue to work with active, practicing dance artists and talk to them about the current state of and trends in the dance field.
How would you describe the dance scene in Lancaster?
Small, but active and vibrant. A good variety too. The caliber of dance isn’t necessarily what it is in a larger city such as New York or Philadelphia, and opportunities are perhaps fewer, but the scene is continuing to grow. The people are inspiring and welcoming, and support for it is also growing.
Advice to modern dancers who land in a small town (in terms of training, performing, and collegiality):
Find classes and try them out. Find venues in which to show work and teach—teaching is a great way to network and to keep your own practice active. Talk to people, and use online social networks to get to know the scene. If there is no scene, then make one! Dancers and dance-supporters are everywhere. You don’t have to be in a big city to have a life in dance.
Final advice to young dancers in general:
Again, pursue a career in dance only if you have to. This advice was given to me as a college student, and I continue to pass it along to my students. Forging a career in dance is no easy task, and you need to have a strong drive and an undeniable desire to do it. It requires courage, resolve, endurance, persistence and resiliency. There is no singular “right” or “best” path to take for a career in dance. It is a creative field, and you can create your own path. Talk to people, and read this blog (such a great resource!) to see all of the different ways people have gone about it. Network. As in most other professions, networking is key. Basically that means (again) talk to people. Stay in contact with people in the field whom you respect. Let people know what you’re up to, and also what you’d like to do. If you want to work with someone, tell them. And cultivate a network of support (friends, fellow dance artists, collaborators, family, etc.). Finally, stay open and curious. Keep doing things that challenge you.
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