by Marjorie Malerk – I am open and receptive to new ideas and suggestions. Usually, I work with my advance/troupe dancers but I have been including my advance beginners and intermediates in the choreographic process to give them experience. Because my dancers are students, I usually do most of the choreographying and incorporate their ideas as much as possible.
by Joshua Legg – I always try to allow fluidity in defining this relationship. This relationship should support the needs of all the artists involved, but it also has to meet the needs of the work that’s being created. I’ll come back to that in a minute.
by Holly Rothschild – My relationship changes. Sometimes, I bring in all of the movement and teach it to the dancers and sometimes, I write very specific directions and ask them to develop phrases based on my directions and then we tweak it.
by Dawn Davis-Loring – I see my dancers as an integral part of developing an idea or expanding on a theme. I welcome their input and contributions toward the creation of collaborative or mentored work that will enrich the concert.
by Marsha Parrilla – I have been very intentional in the hiring process in my company, precisely because I truly believe in the power of collaboration in the choreographic process. I always make sure I am working with people that are not only talented, but thoughtful, engaging, problem solvers, daring, and open minded. My relationship with my dancers is very organic, and they are very inspiring to me. I have a very diverse and multicultural group, which enables rich discussions that inform our choreographic material. They are contributors to the material, and their ideas are always welcome.
by Shannon Batdorf – As a choreographer, I see myself as a leader of the dancers within my piece. We collaborate together, but I give them guidelines to follow while we work together to create a piece. It is normally my vision that I want to see fulfilled, and together my dancers and I create a work that completes my vision.
by Katy Kauffman – My choreographic process so far in my current collaboration is all about brainstorming and finding ways to create movement and structure based on my current intention (i.e. soul mates). If I were to define how my dancers relate to this, I would say their relationship with one another effects my choreographic choices. For instance, currently I am working with a male and a female. The female’s movement style is very staccato and precise, while I find the male is more curvilinear and smooth. This informed my decision to base my idea on two unique individuals that find their souls are actually one. My relationship with my dancers in a more literal sense is about maintaining respect and understanding their unique qualities and limits. This makes it easier for me to create me piece not only based on my own intention, but what will look best on their bodies as well.
by Emily Krause – My relationship with my dancers is a leadership and choreographer role, as well as a peer and collaborator role. Since I develop phrases and then teach them to my dancers, I am the choreographer and the leader for the piece. But, I also collaborate with my dancers by asking them for feedback and allowing their personal dance preferences to be apparent in the piece because if the dancers don’t feel comfortable with the way I do my movement, the dance will not look as good as if the dancers have some freedom in the movements.
by Janaea Lyn – I have always approached my relationship with professional dancers as a collaboration. When I was directing my own company, I regularly involved them in the creative process, especially when working on solos and partnering. Even when I have choreographed for a specific dancer without their direct contribution, I created the material specifically for their unique gifts as a dancer and performer. It is the individuality of each dancer that I find most compelling as a choreographer, and seek to bring out in my work. I use this same approach as an educator and provide all students with opportunities to incorporate their contributions into the making of new dance.