Photo: Whitney Browne
Hometown: Jamaica, Queens - New York
Current city: Jamaica, Queens- New York
Age: 36
Attended an arts high school? Fiorella H. LaGuardia High School (aka The Fame School)
College and degree: University of North Carolina School of the Arts - BFA in Dance
Website: www.camilleabrown.org
All of the dance hats you wear:
Even though I have part-time staff, I'm still wearing all the hats. My ear has to be to the ground regarding every aspect of my company. Indira Goodwine, who was my company manager, has now transitioned to being the Managing Director of CABD. I can't accomplish all of the goals I have without her. CABD's structure as an organization is getting stronger. We are building and working together.
Non-dance work you do or have done in the past:
Clerk at Elmhurst Hospital, worked at an auto repair shop answering phones (both while in college)
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Describe your dance life in your….
Teens: Very hard, frustrating, great friendships and bonds, injuries, seeds planted
20s: Spiritually fulfilling, unpredictable, scary, new, affirming, full of discovery, foundation solidified
30s: All of the above plus grounded, focused, prayerful, more comfortable than ever before, more fearless, more fearful, more courageous, doubtful, steadfast, comfortable in own skin, clear,
BLACK GIRL: Linguistic Play Dancers (l to r): Fana Fraser & Beatrice Capote Photo: Christopher Duggan
Can you talk about working with Ronald K. Brown?
Working with Ron was one of the most fulfilling experiences of my career as a professional dancer. Not only did his work feel like "home" in my body, it affirmed that dance was not about having the "ideal" body, and everything about clarity, spirit, and honesty. I had been fighting for so long to fit into a certain mold, my body exhaled when I joined Evidence. I was always amazed watching Ron and my fellow company members perform on stage. Individuality never compromised our comradery. We were working towards the same goal and felt untouchable. We LOVED the work and LOVED each other.
How long were you in the company?
6 years
How did you get into the company (audition, seen in class, took a workshop)?
I graduated in June of 2001. One of Ron's dancers told me he was looking for a female and that I should contact him. That next month, he invited me to take his workshop at Peridance. From there, he invited me to Company rehearsals. Two days later he asked me to join Evidence!
How did you grow as an artist during that time period?
In every way! I started to develop a clear understanding of what dynamics and range were in my body. The shifts, the pace...As a student, I heard "lift up," but in Evidence I was able to "get down" and fell in love with my plié. I had African dance training at the Bernice Johnson Cultural Arts Center and Carolyn Devore Dance Center (both in Queens), but it had been years since I had moved that way. I dropped down, dug deep, and found my home.
Mr. TOL E. RAncE Dancer: Waldean Nelson Photo: Christopher Duggan
When did you know it was time to take the leap and form your own company?
Oddly enough, I had no desire to have a company. I planned to pursue a career as a choreographer being commissioned by dance companies, but as time went on, I realized that wasn't the direction I wanted to go into. The desire for a more concentrated, intimate, and extended rehearsal process became prominent along with wanting to pursue a career in musical theater.
What is the percentage of time each week you get to work on your company (choreographing, administrating)?
Believe it or not, I am on my phone/computer more than I am in the studio. Part of that is because my process involves research, but it's also because of the business side of what it takes to run a company. I have to make the effort to make sure there is a solid balance.
How do you balance art making and business?
It's tough! There are so many parts to building and sustaining a company. I also have 2 initiatives, 2 more launching this year, and my theater career, so it's stressful at times. I want to do it all, and work to pace myself.
Self care is key. I have to take care of my body and spirit so I can keep giving and working!
What is on your calendar for the rest of 2016?
I am currently in Dallas choreographing Kirsten Child's new musical, BELLA: An American Tall Tale - directed by Robert O'Hara.
When I get back in October, CABD begins our Fall touring schedule.
During this time, I am choreographing another musical that is being workshopped, and working on my new piece, ink.
You were just presented at Jacob’s Pillow. Can you talk a little about performing at this iconic festival and what that meant for you right now in your career?
It's a full circle moment. Jacob's Pillow has supported me in every way possible. I first came to The Pillow as a dancer with Evidence. In 2010, Ella Baffe invited my Company to perform at the Doris Duke Theater, and that next year we shared a program with Kyle Abraham's company, Abraham.in.Motion.
Last year, I co-directed the Social Dance program with Moncell Durden.
I sincerely thank Pam Tatge for choosing me to be the recipient of 2016 Jacob's Pillow Dance Award. I am fighting until it hurts - balancing a career in theater and concert dance (two worlds that I love), but this award is a message - both creative and personal - to keep going. Stand in my movement language. To stand in my style. It challenges me to continue diving into unknown territory and tests whether I have the courage to fly boldly through space.
Please pose a few questions for choreographers to consider:
Who?
What?
Where?
Why?
How?
Who are you?
What do you want to do?
Where do you want your career to go?
Why is that important?
How will you go about achieving your goals?
The Groove To Nobody's Business Dancer: Mayte Natalio Photo: Christopher Duggan
What is your process for receiving feedback on your choreography?
The creative space is precious. You can't let just anybody walk in and say whatever is on his m/herind. The people I bring in give me a balance of honest and encouraging feedback. My dramaturgs, mentors, friends, and CABD family are my tribe.
It's also about timing. I open myself up for feedback when I'm ready to hear it. Sometimes, you just want to get your ideas out and process it for yourself before opening it up to others.
What is your editing and revising process?
I ALWAYS change something - working to find better ways to make statements, transitions... Storytelling is important to me, and I have to be open to how things evolve. For me, the premiere is just the beginning. We premiered TOL in September of 2012, but I didn't stop working on it until July 2013. We premiered BGLP September of 2015, and didn't stop working on it until April 2016.
Both pieces were touring during this time, so the challenging part is updating your creative team on those changes.
There does come a time when I do "close the book." I don't want to get stuck.
Financial advice you want to pass onto dancers just forming a company:
Think quality not quantity. You don't need a cast of 20 to make a strong statement.
On perseverance and determination:
Speak what's in your heart like only you can. It may be totally different from what other people are doing. You may feel alone. Trust your gut. Every time I dive into a piece or project I learn to trust my instincts more than the last time. Go for it! I learned that from observing Dianne McIyntre's process.
Use your obstacles and rejections to bring you to that next level of your artistry. Everything happens for a reason. Be patient, but focused. Be about your business.
If you don't see a reflection of yourself in the world, create that space for yourself. Spark a new idea and contribution to the dance community.
Racism and sexism exist in the dance world. However, you cannot let them stop you from reaching your goals.
There will be ups and downs. Use the downs to rebound back up.
Final thoughts - Hope/belief/love of the profession:
Remember the joy of dance. Don't forget why you started dancing in the first place. It was the love and the joy it brought you!
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