Archive for June, 2011

June 30, 2011

copy of miranda july’s facebook note

by ashleyandersondances

Miranda July just posted this on her facebook page…seems reasonable to share.


When I was 20 I dropped out of college and started a network for girls and women making movies called Joanie 4 Jackie. It was very lo-fi; women would send me their short movies and I would send them back a tape with 9 other movies on it, plus their own. At that time it wasn’t so easy to share videos and knowing other young women filmmakers made me feel like I was part of something important – my plan was to share that feeling and create a, like, revolution. Over the next eight years, as I taught myself filmmaking, I compiled and disseminated more than a hundred and fifty movies made by other women. I mailed VHS tapes via the US Postal Service and drove around the country with a video projector, trying to create an audience for something I myself wanted more of.


If someone had told me that in 15 years there would be thousands of videos made by girls in their bedrooms I would not have been surprised; I knew it was the perfect medium for people who are raised to be self-conscious anyway. But I never would have guessed that most of these videos would be of girls DANCING.

Type “me dancing” into YouTube if you don’t know what I mean. Are these women thinking of themselves as directors? Probably not. Are they bored and wanting attention? Probably. I know I was bored and wanted attention the first time I turned on the camera. But now the camera is always on, and the audience is always there.


I was watching a lot of these videos when I was writing the script for The Future. The character I was writing for myself, Sophie, was a dancer, but she was (of course) my age, so she was a little too old to be a YouTube dancer. But I imagined she would be mesmerized by how easily these younger women made their dances and put them out there and got an immediate response. They loved to dance, and they loved to be watched, by strangers. For me an audience seems to promise a kind of deliverance that never comes. And I love to wait, believing that it still might, one day.


This is dicey territory, because of course I, Miranda, am also a woman who makes movies of herself, albeit on a larger scale. Doing that is already pretty tough, so it felt almost reckless to associate myself with these women and girls who are so easily ridiculed. But don’t forget, for me this all began, my whole career began, with Joanie 4 Jackie. So when I watched the “me dancing” videos I could not dismiss them. In fact, viewed en masse, they were like one big daring, poignant, funny, heartbreaking exquisite dance. Or at least a pretty bright fucking flare saying We are, actually, here. I for one would like to respond to that flare.


So serious and so much done with such a tiny bit of space.


Her world seems like a really dramatic, romantic place.




I Ask Of You: Yes, I really do want to see you dance, in your own particular way, to your favorite danceable music. But I don’t want to see your face. Either keep your back to the camera the whole time or make sure that your head is cut off, no matter where you are in the room, and then: GO FOR IT! A sad dance. A complex mixed feelings dance. A dance of love. A dance where you barely move! A dance that you can do secretly where it looks like you are working! You can do no wrong. Title your dance: A ____________ Dance, so we know what kind it is (fill in the blank.)

June 30, 2011

goooooogle books

by ashleyandersondances




did you know google books has basically every dance history book ever? not in it’s entirety but still.

June 29, 2011

young benefactors?

by ashleyandersondances

The Trib has included in their dance notes the Young Benefactors second gathering. Cut and paste the link below for information on how you can RSVP tonight to see performances by RDT, etc etc etc

June 28, 2011

arts fest + submissions + thank you

by ashleyandersondances

Tribune today says that the Arts Fest attendance was up by 100,000 from previous years! Additionally a lot of those people were giving standing ovations to Ballet West and other dance groups.

Please remember if you attended these performances and have thoughts to submit you can send them to

Additionally send any and all submissions to volume 3 of the journal by July 15th (not too many days left!)

The journal was just funded in part by the Salt Lake City Arts Council and we thank them for their support in getting critical literature on dance out and about in SLC.

June 27, 2011

new blog from The Yard

by ashleyandersondances

Lisa is performing onstage for the first time in her life. She is 60-something (no cajoling can convince her to tell her true age). Like any dancer preparing for their first show, she is extremely nervous, jumping anxiously when the music begins, wandering wildly onstage when she forgets the next movement. This novice attitude can be wearing, but it is the reality and sometimes the best part of inviting community members into your performance.
The Reality: The H.T. Chen & Dancers Company performance this weekend includes a 3 minute piece choreographed for volunteer community members. The dance is a combination of tai chi exercises and martial arts. One cast consists of seven elementary school students. The second night, 8 older dancers (including myself, my fellow interns and the afore mentioned Lisa) try to be as crowd pleasing as the inevitably adorable young performers.
With the kids, rehearsing can feel more like babysitting. Seven small children combine into an energetic glom of bodies seemingly bent on consuming and destroying everything in their paths. Lisa, our sole senior community member, on the other hand, matches the younger energy with a nervous energy more tangible than a rabbit trembling in its’ cage. Rehearsals extend past their end times by hours as Lisa attempts to feel comfortable with each step, each count, each entrance and exit. Insecurity results in heightened preciseness.
But the professional dancers in the cast cannot roll their eyes; they cannot sigh when Lisa asks yet another question (often one asked only minutes before, to be promptly forgotten in sheer anxiousness). Because, here is a woman who has gone her whole life without a performance debut. and now, at 60?, she has chosen to learn a dance which, as a show of martial arts, appropriately consists of daunting lifts and guttural chanting and long balances. This is her moment to be brave.
The Best Part: Braveness comes out of fear. All of that explosive and frenetic energy amazingly bundles itself up when the lights dim. The students understand that a black theater is, as one noted in a whisper as he waited backstage, ‘legit’. They are suddenly very aware that they will be on display. And the seriousness and maturity manifested in their bodies is rewarding; knowing that two weeks of rehearsals can result in unison battement ronds de jambes and perfectly spaced lines of dancers reveals the possibilities and capabilities of a young (or for Lisa, a young at heart) mind.
So what is community involvement about? And is the extra work necessary to involve amateur performers worth it?
For some volunteers, the opportunity to participate in the collaboration means a first real dance experience. It means learning about Chinese art and culture. It means learning movement beyond the step-hop-chasse that their play director at the public school has taught them. For the community audience, it means viewing collaboration between arts and education, which displays the meaningful and necessary purpose to the organization they have just supported by purchasing tickets for the show.
Ultimately, the advertising associated with the tagline ‘art and education’ can make community involvement worth any hassle; parents purchase tickets to watch their children perform. Media picks up the story because of its’ charming wholesomeness. Ticket sales soar. Less callously though, community involvement is worth it because individuals— usually non dancers— become immersed in dance. Using their bodies in foreign ways they can explore their creative body and mind and be expressive non-verbally. Their experience can hopefully transform them into continuing supporters of the arts, forming the audience which every performing group relies on for longevity and success.

Sofia Strempek is a senior BFA candidate at the U, intern at The Yard & loveDANCEmore

June 24, 2011

a little weekend reading

by ashleyandersondances

Attending the RDT Cunningham workshop this summer? Interested in Cunningham’s last tour?
Check out this nytimes blog about the visual artist documenting the final tour of the company.


Interested in reconstructions and/or other cities dance scenes? Read this LA Times article about a recent reconstruction of Giselle in Seattle.

Interested in even more reconstructions? Check out this info about Dianne McIntyre, she’s reconstructed many a work by Helen Tamiris, something RDT is also known to do.

To round out weekend reading check out this dance magazine article on site-specific work during the summer in NY & remember to be on the lookout for Movement Forum around town in July.

June 24, 2011

Call for Submissions — Sugar Space Artist in Residence

by ashleyandersondances

Before sharing her details below we should remind everyone that Sugar Space has an annual Artist in Residence program which enables choreographers to develop new work. Their last resident, inFluxdance went on to tour their piece “Justice for Some” to multiple venues this summer. Take advantage of the opportunity in 2012 by applying for a residency and advantage now of the opportunities developed by resident artist, Nancy.

Nancy Carter (current Sugar Space Artist in Residence) is pleased to announce the very first Salt Lake City New Blood Dance Project!

The New Blood Dance Project will provide one brave “non-dancer” with the resources and support necessary to create a piece of choreography. Under the guidance of Nancy Simpson Carter and with the help of some of Salt Lake’s finest dancers, the vision of this “non-dancer” will take form. This project was originally created by North Carolina dance company Choreo Collective in 2001. These pieces were always audience favorites, possibly because they were more accessible and had a greater variety of content than the works created by dancers. Choreo Collective’s “non-dancer” choreographers have included a visual artist, a composer, a political activist, a set designer, and a sociologist among others.

And now Salt Lake has the chance to prove that it has residents who are fascinatingly creative and have a distinct interest in dance, but no training. The choreographer will come to weekly rehearsals with ideas for content, structure, mood, etc. and the dancers will improvise around the ideas, developing a movement vocabulary and material that could be included. The choreographer will refine and specify what he or she is envisioning, and finally edit the work into a cohesive piece. The choreography will be performed at the end of September at Sugar Space Studio for the Arts as part of their Artist in Residency Program.

Do your ears start to burn with ideas when you read that you could be a choreographer too? Do you spend time after art events debating the content, context or merits of the work, or remarking about what you would do differently? Do you know someone like that who should have this opportunity?

The New Blood choreographer will be selected for his or her unique artistic perspective. He or she will demonstrate commitment to the project and the tenacity to see it through. He or she will have some experience viewing modern dance and little or no training, or so long ago it’s ancient history.

To be considered, send an e-mail (fewer that 500 words, please) to with following:
Say a little about yourself. This could include anything autobiographical, like education, profession/job, hobbies, family.
Why does this project interest you?
Describe your involvement in dance, past and/or present?
What do you imagine a dance that you create would be like? Feel free to describe mood, movement, subject, relationships, anything that will paint a picture.
Include your contact phone number and e-mail.
Submissions will be accepted until July 4.

Contact Nancy Carter at 919.621.2944

June 23, 2011

dance @ arts fest

by ashleyandersondances

The Arts Festival kicks off today and there are plenty of dance offerings.

Tomorrow @ 10pm you can check out Samba Fogo
Thurs/Fri @ 6:30 Ballet West
Saturday @ 5 Children’s Dance Theatre
Sunday @ 5 RDT
Sunday @ 6pm you can see Aerial Arts of Utah at the Main
Archway by the Library

There are some other Ballet West shows peppered in there. You can find the full schedule at

There is no way one person can review all those options over the course of the weekend so if you have anything to say at all about dance at the Arts Festival please send your comments to

June 22, 2011

jam time

by ashleyandersondances

interested in working on partnering and weight-sharing and the like?

go to the month Movement Forum Jam at Rowland-Hall. This Saturday (the 25th) from 12-2pm.

Movement Forum is also doing a series of small shows around town in July. Soon we’ll post the dates for their performances at locations like 9th & 9th, the Library & other various outdoor locales.

June 21, 2011

don’t forget to submit

by ashleyandersondances

when I opened the Sunday NYTimes to the dance section I laughed a lot at the article about ballerinas choosing buns or bobs.

I know it’s summer. But there were definitely shows in the city that weekend right? And hair is fun but dance is arguably more fun?

The only point is, whether you like to wear your hair in a bun or bob for whatever dancing you like to do, please also submit reviews of shows you see to

Also submit whatever else you like for the upcoming issue of the journal. Less than a month left. Questions, comments & submissions all go to the same e-mail….

%d bloggers like this: