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.
Published by misnomer at November 24, 2008
in News. Closed
Misnomer was featured in the New York Times Dance section on Sunday 11/23/08. Here is an excerpt:
The Misnomer dancers Chris Elam, left, and Dorian Nuskind-Oder in a video still of their company’s work.
By ROSLYN SULCAS
Published: November 21, 2008
THE choreographer Chris Elam makes strange, contorted dances in which people knot themselves into compact sculptural forms, tangling their limbs with another’s in what can look like a fervent attempt at human connection. His company, Misnomer, tends to perform in downtown sites with few frills, and his apartment in Park Slope, Brooklyn, is also his office headquarters.
Jaki Levy
A company rehearsal goes live over the Web.
These details would suggest that Mr. Elam is yet another talent pursuing his personal vision on the fringes of the contemporary dance scene. That definition would be far too limiting for Mr. Elam.
Over the last few years, in addition to garnering critical kudos for his choreography, Mr. Elam has become a pioneer in a challenging endeavor for an art form reliant on live performance: enabling dance to use the Internet as effectively as music and film have.
Back in January, The Sundance Channel featured Misnomer during our residency at the Baryshnikov Arts Center. Earlier this month, The Sundance Channel tapped Chris Elam once again to weigh in on the presidential election as part of their Voices on the Election Back Talk Blog. Chris was asked ten questions on subjects ranging from his favorite political movie to the role of art in politics. Read the full interview.
If you have thoughts about the ways that we are using the web, feedback about your experiences with Misnomer online or in the theater, or suggestions for how we can further improve the ways we share our work with you online, please let us know with a comment.
Marci Alboher wrote an article today in the Business Section of the New York Times in which she featured Misnomer Dance for its’ flexible workspace and online innovations:
Her article included a photo of Misnomer’s office in the Times:
Using her article as inspiration, we decided to give everyone a tour of Misnomer’ home office with a video we edited which the Times linked on their blog:
The Business Section of the NY Times is a section where dance seldom goes. We are glad to be able to outreach to wide sections of society and hope this turns some new eyes to dance!
If you’re going to be anywhere near Martha’s Vineyard, make sure to drop us a line. We’ll be in the area through the month of July on a residency choreographing a new dance. Our performances at The Yard will take place on July 26, 27 & 28, and we will teach classes and work with the community throughout the month. The weblink is: http://www.dancetheyard.org/
From their site:
The Yard is known as a beacon of support for the art of choreography. In its 34 years of existence, more than 650 choreographers, dancers, composers, and designers have collaborated on more than 200 original works at The Yard.
Keep checking back on the blog – we’ll be posting pictures, videos, and words throughout the Summer!
This summer, we’re going places – literally! As part of a 6 week residency program, we’ll be putting together workshops, shows, and other events. Don’t miss us this July.
Misnomer is in residence at Summer Stages Dance as the first time winner of the Summer Stages Dance/Baryshnikov Arts Center Artist Residency Project.
As part of the residency, we will be teaching workshops, performing, rehearsing and developing our presenter partnership. You can see us perform live on July 12 or catch some of the show here, online.
In July and August, we will be in Concord, MA (as well as Martha’s Vineyard at The Yard) developing new work. As the second part of the Summer Stages residency, we will be working at the Baryshnikov Arts Center this Fall. We can’t wait to meet so many new people and share our work with you!
Check out the full details of our Concord, MA appearances here:
In their June 2007 issue, Dance Magazine published a really interesting review of our show FUTURE PERFECT:
Elam’s company, Misnomer Dance Theater, never ceases to impress with their connectivity and subtle-to-intense emotional interactions. It’s the abruptness of the movements—a dancer will stand completely still for moments, then all of the sudden throw herself onto the back of another dancer—that make Elam’s choreography so intense. It’s strangely comfortable to watch, as if you are having a pleasant, but non-linear, bizarre dream.
Deborah Jowitt wrote a great review of the double-bill at Skirball this past weekend.
Seeing Elam’s work and Keigwin’s in one night certainly emphasizes the contrasts between them…Elam is a true original, and his vision of humans as awkward, naïve, and eager is both comical and curiously touching.
I also really enjoyed what she wrote about Keigwin:
Larry Keigwin may not need Broadway, but Broadway could certainly use him.
Be it film, motion capture, or video games, it is interesting to think that while either choreographer could work on Broadway, they could very easily work in many other venues outside the traditional performance space. To me, that is a very exciting idea.
Through our fundable campaign, Misnomer managed to raise $800 online from Feb. 13 – March 10! Thank you to everyone who contributed. You are helping prove that online fundraising DOES work!
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?
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