Vicky Shick. Photo by Kegan Marling.
Continuing to work on what you're working on
By Megan Nicely
Vicky Shick is a precise and powerful mover. Her casual elegance specifies an approach to oneself and others that is at once astute and accepting. There is ease and humor, which accompanies a deep knowledge and discernment about what makes good work and lasting relationships. These same qualities are instilled in her technique classes, which she teaches in NYC primarily through Movement Research, and that I have attended (when able) over the past 15 years. I remain drawn to her practice because I know what I am working on—and why. Through clear alignment of body and mind, detailed placement of gestures in time and space, and open awareness to others, I can draw on many years of training and skills to cultivate myself as both a dancer and person. Vicky’s classes, to quote something she once said of Trisha Brown, promote a “different body attitude”—a way to be with change without sacrificing rigor and while continuing to experience the exciting, often surprising sensations that initially drew one to dance in the first place.
The Bay Area had the opportunity to experience Vicky’s work for 5 days in early February through an initiative led by Margaret Jenkins called Encounters Over 60. The project highlights nationally recognized artists whose careers challenge an ageist society where professional dance is only for those who are young, healthy, and able to execute certain technical moves. The project’s goal is also, in the face of shrinking support, to create spaces for those who have dedicated their lives and careers to the profession. Jenkins asserts that resources should rightly be directed toward cultivating younger artists—and yet there is also a clear need to find ways for mature dance professionals to continue to practice, share, and engage in discourse. Evidenced in the attendance at the residency’s classes, choreography workshop, and showing of a piece created with local dancers ranging in age from late 50s to over 70, dance does not simply evaporate once one reaches a particular age.
Things do change, however, and both dancers and audiences must learn to perceive and value different aspects—ones that Western culture often ignores. At the post-performance discussion one dancer captured the sentiment projected, often unknowingly, on older artists: “Are you still dancing?” “But you’re not still performing, are you?” Luckily, the answer last week was yes. The mylar skirt worn by Shick in her solo brilliantly captured the significance of each weight shift and articulation. The group piece created in just 5 short rehearsals was similarly crafted, bringing the wealth of movement knowledge as well as joy into the room. Memorable was a post-performance audience question that elicited the performers’ rich and varied dance histories. I was struck by chronicles of early dance classes and bold risks to pursue careers, often by following paths to New York or other cities and not accepting rejection at certain institutions. Most of the performers are also now dance educators themselves.
Finding spaces to continue to work on what you’re working on, together—that’s why we continue to dance.
Laura Elaine Ellis, Diane Frank, Sue Li Jue, Nina Haft, Lisa Bush, and Risa Jaroslow. Photo by Kegan Marling.
Megan Nicely (MFA, PhD) is an artist-scholar working within contemporary choreography and Japanese butoh. She has performed with her group Megan Nicely/Dance in the US, UK, and abroad and published in TDR, Choreographic Practices, and Performance Research, among others. She co-edits the Critical Acts section of TDR and is Associate Professor of Performing Arts and Social Justice at University of San Francisco. www.megannicelydance.org
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Encounters with Vicky Shick by Valerie Gutwirth
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Love this photo!
Posted by: Lucia August | 02/19/2020 at 09:53 PM