Misnomer has been rehearsing next door to the New York Stock Exchange in an old bank vault – a unique space granted to the company by the Lower Manhattan Cultural Council (LMCC).
Join Misnomer Dance Theater for a live webcast from inside the vault on Wednesday, April 29th at 5:30pm EST.
The 30 minute show includes an introduction from Artistic Director Chris Elam, followed by Misnomer’s newest work-in-progress, and an excerpt from Too Late Tulip.
You’ve been a company member since the beginning. Please describe your experience as the company has shifted and evolved.
Chris and I met in the Dance Conservatory at NYU, Tisch School of the Arts. He was getting his M.F.A. and I my B.F.A. He was looking to cast a trio he wanted to make for one of the student concerts, and a fellow dancer, Chris Yon, recommended me to him. I’ve never really talked to Yon about that recommendation, but I think about the ramifications of it sometimes… that boy really did set the course of my life in a big way!
Anyway, I fell pretty hard for that first piece of work, “Looking Long in the Stampede.” It was a trio set to Tuvan throat singing and “Raindrops Keep Fallin’ on my Head”, with silences interspersed. The unifying element of the piece was represented by bright green painted index fingers for all three dancers. Chris’ work just made perfect sense to me. I enjoyed creating work that really showcased my personality and emotional make-up as a human being– the universal aspect of that as well as my uniqueness as an individual. I felt at home exploring the balance point between dichotomies such as unbridled joy and sorrow; loneliness and fellowship. It seemed that everything could be felt and conveyed fully in just one piece, that each work was a universal strand of DNA all unto its own. That initial satisfaction with Chris’ work has never left me, and I have been working with Chris for almost a decade.
Misnomer did a webcast of the final performance from the 2008 New York Season to a worldwide audience. How did you feel on the night of the webcast?
I felt like we were boldly stepping where no dance company had ventured before. It was thrilling to know that people all over the world would be watching us live to help close out our unprecedented two week run at Joyce Soho. I thought I would be more nervous when I got onstage (thinking about it beforehand in the dressing room made me shudder with equal parts joy and terror) but luckily, I forgot all about it once I started moving, and the camera sat quietly and unobtrusively in the back of the house. It was so wonderful to know that my parents would be watching me in real time on their vacation in Cabo San Lucas!
What do you do outside of Misnomer?
I am taking a year off from making new work with Misnomer in order to focus on building my teaching practice. I am enjoying creating a new class format based on the martial art Bagua (a cross between Tai Chi and Shaolin) that functions like an Eastern Calisthenics class.
I am excited about it because it combines the best of aspects of modern dance and of yoga– the Chi Gung breathing and zen like quality of a yoga class combined with the movement through space, intense physicality and dynamic range of a modern dance class. I am also teaching Gyrotonic at a wonderful studio in the West Village called ‘Village Gyrotonic’ and continuing to perform with the caburlesque troupe Lady Rizo & The Assettes.
For Misnomer’s March e-news, we conducted a Q&A with Misnomer dancer Coco Karol.
What do you do you when you’re not dancing with Misnomer?
Outside of working with Chris Elam, I have a very diverse and busy artistic life. In addition to dancing for Chris, I dance with Cherylyn Lavagnino performing contemporary ballet, which, yes, means pointe shoes! I am also currently dancing as a puppeteer for Christopher Williams upcoming show at DTW. In addition to the choreographers I work for, I also have many of my own artistic projects, most of which are centered around installation and collaboration. I have collaborated with various sculptors, designers, painters, video artists, and photographers, performing in festivals such as DUMBO under the bridge arts festival, AUNTS, and at the New York Studio Gallery. In addition, I run a small performance space in Brooklyn which I built and live in called The Petri Space, meant to be a petri dish for the exploration and experimentation of a range of artistic work. There, along with two other women, we feature dance and installation work, along with comedy shows and poetry and prose readings. In conjunction with The Petri Space and an art collective called Subject To Change, we are currently working on spring show that will feature a modern roof top victory garden and engage with themes of community through the metaphor of plants and branches, roots and growth. And when I have a minute to spare you will usually find me with my nose in a book or my fingers covered in watercolors!
What are your feelings on creating new work in the bank vault?
Wow, well its an extraordinary time to be an artist working on Wall street across from the New York Stock Exchange. The poignancy of the metaphors in this run very deep. And I am reminded of that every day as I go to the studio. As the US and global economy are suffering, the artists are going to keep making art despite it all. Artists, dancers, writers, musicians, we are going to keep doing what we do in some form and capacity. We will make space, dance in bank vaults, get creative about how and where and what, but we will continue to make work. When I am rehearsing in the vault, which is underground, I like to think of the image of Wall st. bankers and tourists walking above an empty bank vault with us dancing below. Where stacks of money and credit used to be stored under high security, there are now bare feet prancing around and exploring the many ways to make meaning out of space.
What was it like to work with Bjork in the Wanderlust video?
Working on the set of Wanderlust changed my life and in many ways the way I have been approaching my own work these days. I was struck by how many people, most of them unpaid interns or underpaid artist, came together and created something spectacular, because they believed in the vision and in Bjork. They did it with an overwhelming positivity you rarely find in such a large project. And getting to work with Bjork was really quite magical. the first shot with her, I was uncomfortably harnessed to her back as she sat on one of the yak puppets. When she began to sing, I not only heard, but felt the vibrations of her voice through my back, and they echoed through my chest like some sort of beautiful cymatic sound healing. It was a truly amazing way to begin the shoot. Furthermore, I very much respect Bjork’s work and it was a treat to get to know her a little better as a person, to see her as a loving mother, a woman, and an artist.
Chris is in Louisiana for a residency at Southeastern Louisiana University. Here’s a quick update sent from Chris on location: “I’ve been having a wonderful time here in Hammond, LA, setting my choreography “Zipper” on students at SELU. The cast is hard-working and enthusiastic, and the town is pleasant and weather is warm! I’ve been spending my downtime on the porch of the campus guest house in a rocking chair – with my laptop, happily productive managing Misnomer!”
Misnomer spent the last two weeks in residency at the University of Southern Mississippi in Hattiesburg, MS. In addition to setting choreography on the students, Misnomer performed for the public on February 7. Everyone had a great time! The trip had special significance since the University is Brynne’s alma mater, and it was the first residency for new company members Jenny and Val.
Jenny’s thoughts on the experience:
University of Southern Mississippi was a wonderful place to go on my first tour with Misnomer. The university was incredibly hospitable and it was a great opportunity to bond with the other dancers. Feeling more integrated as a company member combined with the extremely warm and welcoming students and faculty allowed the work to achieve an energy that I had not felt until performing on the USM stage. It was a great experience and I look forward to future tours with Misnomer!
Brynne shares her alumna perspective:
The USM residency has been such an amazing experience. The university students have been terrific to work with. As a USM alum, I’ve really enjoyed sharing with them my experiences as a dancer in New York City, and teaching them Misnomer repertory. They are so eager to learn and have given so fully of themselves in the artistic and creative process. It has also been such a fulfilling experience to work outside of the university with children in the community and with students throughout the state. I feel that we were able to have such a positive impact by sharing dance and art in such a unique way with the Mississippi dance community.
Visit our blog often for news and updates from home and from the road!
Published by Maia at January 25, 2009
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On Monday January 26, Chris Elam will participate in an arts colloquium at New York University’s John Brademas Center. The event, “Moving Forward: A Renewed Role for American Arts and Artists in the Global Age” explores how the Art and Artifacts Indemnity Act can be expanded to renew support for visual and performing arts on a national level. Chris joins fellow participants from many leading arts and cultural affairs organizations for a day of presentations and discussion on this issue, which will result in a proposal sent to congress.
Published by Maia at January 25, 2009
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The online community was abuzz about Misnomer’s December performances of Too Late Tulip, Rock.Paper.Flock., and Zipper, which were broadcast live on the web to a worldwide audience on December 14th, 2008.
Rock.Paper.Flock @ Joyce SoHo
We’ve compiled some commentary from various blogs below. Click here to view the webcast archive. Have something to add? E-mail us your feedback.
Move the Frame: “It could greatly expand the potential of the audience/choreographer relationship.” Read full post
Tonya Plank: “One thing about Elam — his movement language is so original, something I can’t say of many other choreographers. I’m sure this is the effect of having lived and studied abroad, working in a variety of non-Western cultures. The movement is somehow still evocative of the familiar though, and emotionally moving — the creatures he creates can be funny, sad, pathetic, cute, always endearing.” Read full post.
MYGREENBLANKET: “Misnomer toys with the audience, making us laugh, think, and evolve with them.” Read full post.
Dancing Perfectly Free: “Rock. Paper. Flock.” strives to demonstrate the creative process.” Read full post
Dance Advantage: “The experience was altogether different from attending a live performance in the traditional manner. I didn’t dress up, I didn’t have to find a place to park, I didn’t have to find a babysitter, and people, who could talk throughout the entire performance, came and left when they wanted!” Read full post
A Time To Dance: “It was truly a new experience for me and many others.” Read full post
GOTHAMIST: “At turns funny and captivating, Being Together sent us out into last night’s deluge feeling somehow more centered.” Read full post
Flavorpill: “Chris Elam is a rare bird: a downtown New York choreographer who appeals to a wider audience” Read full post
exploredance.com: “Misnomer Dance Theater definitely has an edge worth checking out, if even from your own computer screen.” Read full post
No Expectations:”Super cool idea and great use of technology.” Read full post
Dance Outlook: “I went in to this having no prior experiences with the company and no expectations. Their dancing, especially partnering, blew me away.” Read full post
The Winger:“If you missed the live feed of Misnomer Dance Theater’s performance last week (or if, like me, you live halfway around the world from New York and had to go back to bed partway through the concert!), you’re in luck: the video is online.” Read full post
Published by Maia at January 20, 2009
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CATCH A FREE MISNOMER PERFORMANCE:
Hot off the heels of ten performances at the APAP conference, Misnomer heads to the Brooklyn Campus of Long Island University for a full performance, free and open to the public!
As part of the Afternoons @ LIU series, presented by LIU Brooklyn Campus’s Dance Department and the Kumble Theater for the Performing Arts, Misnomer will perform 3 dances: Breakfast With You, Rock. Paper. Flock., and Tin Man, followed by a 15 minute Q&A.
Click here for directions and more information. See you on January 28th!
We recently interviewed Evan Ziporyn, who recently collaborated with Chris Elam and Misnomer. The interview can be found below.
About Evan Ziporyn:
Evan composed the score for Zipper, one the new works from Misnomer premiering this season. Evan’s bio (pulled from Ziporyn.com) : His compositions have been performed by the Kronos Quartet, Bang On A Can, Nederlands Blazer Ensemble, master p’ipaist Wu Man, Boston Modern Orchestra Project, Gamelan Sekar Jaya, Maya Beiser and Steven Schick, Arden Trio, California EAR Unit, pianists Sarah Cahill, Christopher Oldfather, and Cristina Valdes, and Orkest de Volharding. As a bass clarinetist, he has developed a distinctive set of extended techniques which he has used in his own solo works, as well as new works by Martin Bresnick, Michael Gordon, and David Lang. His 2001 solo clarinet CD, “This is not a clarinet” (Cantaloupe) received critical acclaim on NPR’s All Thing’s Considered, PRI’s The World, and on numerous critic’s top ten lists at year’s end. He has been associated with the Bang On A Can Festival since its founding in 1987, appearing as composer, soloist, and ensemble leader. As a member of the Bang On A Can All-stars, he has toured over a two dozen countries and worked with composers such as Louis Andriessen, Iva Bittova, Glenn Branca, Don Byron, Alvin Curran, Nick Didkovsky, Arnold Dreyblatt, Philip Glass, Steve Martland, Meredith Monk, Thurston Moore, Kyaw Kyaw Naing, Terry Riley, Ralph Shapey, Matthew Shipp, Tan Dun, Cecil Taylor, and Henry Threadgill. In addition to writing for the group and co-producing several of their recordings, he has arranged for the group works by Brian Eno, Conlon Nancarrow, Hermeto Pascoal, and Kurt Cobain. He also regularly performs and records as a featured soloist with Steve Reich and Musicians, and shared in their 1999 Grammy for “Music for 18 Musicians”.
JAKI: I’m curious about your own personal process. How did you begin to compose the music for Zipper? Where did you begin?
EVAN: Chris and I had corresponded for some time before we started the process, so I knew a bit about how his mind worked, and I liked his ideas a lot, but I had never seen the company. So I was sort of flying blind – I really had no idea how he’d respond or how I’d respond to his response. Another thing is that Chris’ way of working with the company is so interactive and experiential – i.e., a give and take in response to the moment. That wasn’t going to be possible with the music: we live in different cities, the live instrumentalists were only going to come in at the last minute, etc. We had to find a more modular way of collaborating – i.e., demo recordings which he could respond to, etc. This then posed other problems, because the demos are inherently artificial – computer models, fixed in time and tempo, etc. So much of Chris’ work is about feeling, and the whole thing with demo tapes is that they don’t ‘feel’ like the real thing.
These were very large hurdles to jump for both of us, and in a way finding a way to deal with them was the hardest part of the process. What I eventually did was to make a fairly large number of short pieces – I think maybe 8 or 9 – and send them all to Chris. He then chose the ones that resonated and I then developed those into larger forms. To me, some seemed to fit together and some didn’t, so I had the interesting challenge of making something coherent out of things that went together in his mind but not necessarily in mine. I wrote a couple of other things in response to his reactions, and then began searching for the connections.
The process ended up being very fascinating, actually akin to some of the interactions that go on in “Rock Paper Flock,” (which of course has nothing to do with me). My usual process is not so different from this, but normally I hold all the cards: i.e., I might make a lot of sketches, then gradually decide what to use, and then find a way to make them into a piece. Here I gave the middle part of the process over to someone else, so it was kind of like being an amnesiac, having some part of my consciousness taken away from me and then returned. I found this to be an oddly compelling situation, and tried to incorporate that feeling of absence, or absent-mindedness, into the work – so that there’s always a sense of ‘did i hear this before?’ involved.
That’s also the reason for the title of the instrumental version of the piece, which is called “Where Was I?”
LISTEN to Where Was I
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JAKI: The choice of instruments, percussion, and musicality are all very different from a traditional sccore. This really is New Music. Can you give us a breakdown of the instruments used? And what went into the decision to choose those particular instruments?
EVAN: It was really about the people rather than the instruments. I had wanted to work with the Real Quiet Trio, and also felt they’d work well with Chris and the company. I also felt it would create an important balance to have the music be performed by a real group rather than a pick-up ensemble, though of course it would have been simple enough to find good players in New York. But Misnomer is so connected to themselves and to Chris’ work, I felt that the music needed to be played by a group that had a similar sense of cohesion.
JAKI: I imagine the roles of a composer and performer are different. How did you ensure the piece is played as you intended, in this case by Real Quiet Ensemble?
EVAN: I’ve worked with them all as individuals for a long time, we’re all good friends as well, so I know them and they know me. Percussionist David Cossin in particular is an extremely close collaborator: we are members of Bang on a Can together, and have played together literally hundreds of times. So I knew I’d be in good hands. Of course every composer thinks their music needs to be treated in particular ways, but this score was a little unusual: the tunes and harmonies are simple on the surface, and the textures are transparent, but the timings are very subtle and particular, made more so by they way Chris choreographed to them. So I needed a group that would understand all this, and who would bring an acute awareness of sound and timbre to the music. And they really came through, I have to say.
“Stroking Piece,” written by Thurston Moore, performed by The Bang on a Can All-Stars and Thurston Moore on guitar
JAKI: How do you know when the piece is finally done? What is like to finally let go of the piece?
EVAN: Well, um, actually, I thought it was done before Chris did – in fact he made changes right on up to the dress rehearsal…
This actually turned out to be the best part of the process, because on more than one occasion he requested fairly radical changes in completed scores, often in ways that didn’t immediately make sense to me, and which I didn’t know how to accomplish. But in trying to do this, I found new aspects of the music which hadn’t been apparent to me before. It was kind of like dream therapy in this way – finding a hidden meaning and then delving deeper.
In terms of letting go, I’m not sure I’ve done that yet. New pieces are like distorted mirrors – you look in them and you can’t help but see yourself, for better or worse. In a couple of years I’ll be able to listen to it and know what it actually sounds like, but right now I have no idea…
JAKI: What’s next for you?
EVAN: I’m finishing an opera! Premieres in June in Bali and in late September in Berkeley, at least if the economy doesn’t collapse any further. It will involve my group (Bang on a Can), a full Balinese gamelan, 3 opera singers and 3 Balinese singers and dancers.
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Published by misnomer at December 11, 2008
in General. Closed
The run of Being Together has been going great. We’ve put together this post for those who’ve seen the show, are looking to come to the show, or are just curious about the process. Some of Misnomer’s dancers offer their thoughts on the season and the creative process.
Jen Harmer:
“I am really aware of the richness of this seasons’ work. The three pieces cover so much territory, and yet they feel so satisfying as a contrasting whole. We begin the evening with a lyrical, folk like movement poem, and then we get to switch hats entirely, to a piece about ‘making decisions in the moment, with coaching from our choreographer’, and finally end the evening with a piece that is abstracted and linear, and driven by a live musical sound score.
The strength of this season lies in its depth of perspective; in its ability to cross boundaries of taste and preference to reach out to everyone, and touch all.”
Coco Karol:
“Creating the evening Being Together has been one of the most interesting processes both intellectually, emotionally, and artistically. The work has been fascinating, from its start, in residency at The Yard and Concord Academy Summer Stages, where we as a company were learning what “being together” as a family and in the studio meant, up through these final stages in New York, learning the complexities of what “staying together” means on stage and otherwise. Dorian Nuskind-Oder:
“The rehearsal process for creating these works has been very rich. I really feel like we have developed a distinct approach and history for each piece. Too Late Tulip was originally created in residence at The Yard on Martha’s Vineyard. That peaceful and beautiful location left a lasting impression on the work. Every time we run the piece, I feel transported back to that time and place.
Zipper was begun during our Concord SummerStages/ Baryshnikov Arts Center residency. In both locations we had the pleasure to rehearse in very large studios. As a result, there is a sense of spaciousness and architecture in the work. I am very aware of my presence within a large pattern on the stage, and this drives my relationship with the other dancers.
Rock.Paper.Flock. is, in a lot of ways, a response to our creative process as a company. The elements of improvisation and conversation between the dancers and Chris is a representation of how we function as a group. I’m especially excited about sharing those ideas with the audience in a performance setting.”
Brynne Billingsley:
“Hearing the demo in yesterday’s rehearsal of Evan Ziporyn’s composition for Zipper has me so excited. I can’t wait to dance this incredible piece with the musicians next month.”
Misnomer did a webcast of the final performance from the 2008 New York Season to a worldwide audience. How did you feel on the night of the webcast?
What are your feelings on creating new work in the bank vault?
Bjork. They did it with an overwhelming positivity you rarely find in such a large project. And getting to work with Bjork was really quite magical. the first shot with her, I was uncomfortably harnessed to her back as she sat on one of the yak puppets. When she began to sing, I not only heard, but felt the vibrations of her voice through my back, and they echoed through my chest like some sort of beautiful cymatic sound healing. It was a truly amazing way to begin the shoot. Furthermore, I very much respect Bjork’s work and it was a treat to get to know her a little better as a person, to see her as a loving mother, a woman, and an artist.
About Evan Ziporyn:
Jen Harmer:
Dorian Nuskind-Oder:
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