Interview with Sammi Rosenfeld

Irene Vandenberg along with Ayana, Sarah, Jeffrey, Riley, Nadia, and Kiri worked with senior BFA student at The University of Michigan, Sammi Rosenfeld, to create another piece for the Freshman Touring Company. Irene got to interview Sammi and ask her about her piece and life as a Michigan student. Take a look!

Q: What's the name of the piece?

A: All Views Are Partial

Q: What is the story behind the piece?

A: The piece is inspired by a scene from the book, "White Teeth" by Zadie Smith where a girl named Clara relays her memory of growing up in a basement apartment:

"The Bowden living room sat just below street level, and had bars on its window, so all views were partial. Generally, she [Clara] would see feet, wheels, car exhausts, swinging umbrellas. Such slight glimpses were often telling; a lively imagination could squeeze much pathos out of a frayed lace, a darned sock, a low-swinging bag that had seen better days" (25).

Because Clara Bowden's windows are segmented with bars and only show the feet of those passing by, Clara literally has a forced partial view of the world around her. Consequently, so that she may have a complete view of her world, Clara creates identities of the pedestrians based off of the visual cues offered to her.  Clara's experience lives as a great metaphor to remind us that we create opinions of others or the world around us based off of fragmented data and pathos.  Nothing we see is fully true. 

Q: How did you decide on what music would be appropriate for the dance? Was this a challenge for you? And do you prefer to choreograph before, after, or during the music searching process?

A: Finding music for my choreography is always a challenge for me. Usually my choreography starts with a concept that I analyze and clarify for myself. Then I go searching for music which is difficult because I usually have an idea in my head of what I want the music to sound like and of course that exact music only exists in my imagination. I scan the internet for a sound I enjoy and each piece I listen to alters my idea of the structure of the piece and usually even the concept.  By the time I find my music I have a structure and a concept that has both inspired my music choice and was inspired by my music choice.

For "All Views Are Partial" I wasn't exactly sure of the music I was looking for and therefore relied heavily on my music search to inspire the structure of the piece as well as clarify my music preference.  I eventually found my music by searching music genres on ITunes which is a very laborious way of picking a soundscape.  And in the end the music I chose actually crafted my piece even more so than my initial brainstorm.

My choreographic process is never finished until the dance hits the stage and even then little details are always being worked on. Going into this work my only goal was to push myself to organize even less, control even less, and plan even less before I entered the studio each time.  I wanted to work with more flexibility and more spontaneity than I had in past experiences to let the piece really form fit the dancers.  I have recently come to believe that spontaneity in the rehearsal process allows for more readable honesty and surprise in the final work.  Therefore, the choreography happened after the music was chosen.  And with the exception of a phrase, the freshman dancers directly inspired or created the choreography.

Q:  Did the number of dancers pose a challenge for you as you began to set the piece?

A: The number of dancers was simply inspiration.

Q: What has been the most rewarding part of choreographing for the FTC class?

A: The most rewarding part about choreography for FTC was my cast! FTC rehearsals are late, long, and sometimes not even the last part of a long day of dancing, school, and work. But no matter how tired, sick, or achy my dancers were they were already ready with a smile and professionalism and kept their concentration throughout rehearsal and for that I am greatly thankful. Furthermore, there is nothing greater than working with intelligent dancers who are ready to combat whatever creative or logistic problem you throw at them. And in return this piece is just as much their as it is mine. 

Q: What was the greatest challenge of choreographing this piece?

A: The greatest challenge in this process was dealing with the limited amount of rehearsal time. I am very detail oriented and usually like to edit each section about 50% before I move on to the next but that really wasn't an option here. Any editing had to be left to end so that I could feel confident that a full piece would be created. This required a lot of release of control on my part and I am proud of what we were able to accomplish.  

Q: As a graduating senior, what advice would you give to these dancers and future members of FTC?

A: Choreograph as much as you can and dance in as many pieces as you can while still maintaining your health and happiness.  Its hard to find dancers, a venue, work, costumes, classes, once you graduate. But on the other hand life/dance won't be enjoyable if you let your health take the backseat. So balance!

Sammi Rosenfeld

Q: What is your favorite part of dancing and living in the University of Michigan community?

A: Nothing beats the people here. Especially in the dance department. Kind, warm, hard working, talented, supportive, down-to-earth, awesome. 

Q: Who was your favorite choreographer when you were a part of FTC?

A: Ironically my favorite choreographer during FTC was Nadia Tykulsker, a senior at that time.  The work was powerful and funky and I loved the change of pace from some of our more subdued, stylized works. Her choreography was successful and different and it was inspiring to see such a piece come from one of my peers.  I went into this process certainly with hopes to relay some of my experience with Nadia to the current FTC members. 

Interview with Sandra Torijano

The Freshman Touring Dance Company was very lucky to have one of the University of Michigan's very own faculty, Sandra Torijano, choreograph a new work on us. In addition to creating this new work, she recently choreographed for "Translation," the Department of Dance's main show in February, in which she had a duet. This duet is featured in the new piece, but has been recast and is now danced by company members Jeffrey Noble and Kiri Chapman. Irene Vandenburg sat with Sandra during Freshman Composition class and was able to ask her many questions to get a better idea about Sandra as a choreographer as well as the piece she has created for us! 

Q: What is the name of the piece?

A: A Un Giro Sol

Q: How did you choose the music for this piece? Where did the inspiration come from?

A: I did a lot of research first, considering there was going to be 3 sections in the piece. I wanted the music to make sense with the abstractness of the image of the sunflower. I looked for something Italian, round, and completed. It took me a year to come up with an idea for the piece. At the previous Power Center I began thinking and making plans A, B, and C. There had to be music for four sections and it had to follow the tune of the last note. "Aria" matches the movement of the dancers. The music is sophisticated. I wanted to allow the dancers a chance for their bodies to really move. I deleted out other music options and settled with four sections of love, humanity, spirit, and strength. The music gave these sections texture. 

Q: When you choreograph, do you usually collaborate with the dancers or stick to your own ideas? Why?

A: Sometimes I like to see the potential of the other dancers....allowing them to put the movement in their own bodies and ask them to challenge it more and facilitate collaboration. 90% of the choreography is mine. Improvisation from the dancers sometimes looks too different and could confuse the audience. 

Q: What has been your favorite part of choreographing for the FTC class of 2013?

Sandra Torijano

A: The beautiful, beautiful souls. The dancers are eager to learn, and the maturity makes me want more hours and time with them. I have been able to learn about the dancers aside from technique. They have joy, they are open, they are happy to receive and learn, support their peers, and respect me. What I receive makes me want to shine for them.

Q: What is your favorite part about teaching within the University of Michigan community?

A: Many things. The students and colleagues appreciate my culture and what I bring from my Latina background is welcomed. I am able to expose ideas and names of artists the students may not know. Everyone receives me in a good way. I feel a Latin American mission of myself which is unique to me and I love sharing these differences. I am happy and thankful. Also, the level of the students and teachers offer a challenge which pushes me to grow. I LOVE THE STUDENTS!

Wanjiru Kamuyu instructing the dancers at rehearsal 

Freshman Touring Company with Wanjiru Kamuyu on March 16th

Interview with Wanjiru Kamuyu

On Saturday March 16th, the Freshman Touring Company spent the morning and afternoon piecing together our newest creation with dancer, teacher, and choreographer Wanjiru Kamuyu. Wanjiru spent a week with us creating a ten minute piece. Company member, Lena Oren, had the honor to finish off this incredible experience by getting to know Wanjiru even better. All the dancer appreciated working with Wanjiru, who really pushed us to pay attention to details, be specific, breathe, and live in our dancing. 

Q: What is the name of Piece?

A: Fragmented Thoughts. 

Q: Who is the composer of  the music?

A: Nate May

Q: What inspired you to come up with this piece?

A: My inspiration was to challenge myself to create a new work that was dance for dance sake.  My work usually is thematic based.  During our process together I came to the realization, on a more concrete level, that my/all movement, of course, triggers an emotional response(s) in the body and spirit of each dancer hence the questions that always comes up for me are “what does one really mean when they say dance for dance sake? What does this entail?”

I wanted the movement to be fun and fulfilling for each of you.  As the exploration of the movement was taking place discoveries were being made by each and everyone of you.  I then consciously left you, the dancers, the responsibility to fill in the emotional space(s) based on the feelings triggered that came up for each of you in the exploration and execution of the movement.  Remember I always said “fill the movement with reason” but I never provided you with a specific reason to infuse into the movement.  The movement should never be void or empty of emotional content.  So the intention was personally and collectively generated by you the dancers.  

Given our time frame I thought it would be fun to dissect and modify movement that comes from two other pieces I created (Spiral and when paradise shatters at its seams then what?).  I never want to simply copy paste from one work to create another.  Therefore I relied very much on our collaborative process.  I loved working with all of you for each were very creatively inspiring!!  I was very pleased and thankful for this!! It made our creative process very enjoyable.  This work is created uniquely for and with you.  I sincerely thank all of you for being so open and generous with me!!

Q: Can you tell us a little bit about collaborating with your composer?

A: I first met Nate at U of M when I was taking Amy Chavasse class October of last year.  I found he listened instinctively and intuitively to Amy's movement and impulses.  He was then able to infuse the space with music that made the dancer soar.  I simply love his work and find him very talented.  He is also very easy to work with.  Dependable, trustworthy, creative, an active listener, hard worker, talented beyond measure, open and generous are some words that come to mind when I think of Nate.

The collaborative process.  First I trusted Nate 100%.  I think he would agree when I say our process provided him with a lot of liberties to explore and create using some guided thoughts and ideas provided by myself.  

We began with a phone conversation whereby we discussed a specific thematic idea I was working with (which shifted drastically the closer we got to the residency yet the music still works) alongside imagery, the desire to have children singing, gargled voices, sounds of nature and the abstraction from the literal yet grounded by a strong and solid musical structure were some of my ideas.  I really wanted a curvy linear approach to the music.  I also sent him samples of music I was toying with and enjoying at the time.   

Additionally I explained to Nate that I use music as a sound score that meets the dance later in the creative process.  I love the chance moments, the ebb and flow of each performance's relationship between music and movement.  The surprises that unfold that are many a times breathtaking for the audience and the dancer.  I usually do not choreograph to music cues.  I like to create a sound score within the dance itself through the use of breath (the dance holds its own rhythmic nature) that then is married to the music through organic reactions and interactions between the two worlds.

Despite the shift in original intention for our work together, the music Nate created works perfectly.  I loved witnessing the dancers positive reactions to the music score and I am most pleased he decided to incorporate all of you in his creative process.  You have a sense of ownership to the score that I love and appreciate!

Q: Do you prefer choreography over performing? Or visa versa? 

A: I love both.   I have to engage in both in order to feel balanced and inspired.  Both worlds nourish and nurture me.

Q: What is it like to live in Paris?

A: For the first time in my professional career, I am able to exhale. Paris allows people to take non-guilty pleasures in life through their culture of vacationing and work week (generally 5 weeks per year with a 35 hour work week) versus in the US where work is the central focus and vacation is secondary (generally 1 to 2 weeks per year with a 40 to 60 plus hour work week).  My first real vacation was in Paris during my first year with The Lion King.  I am trying to learn how to pull back and allow myself to have moments of rest.  I find when one is rested and rejuvenated you make for a better artist and human being on all levels. 

Paris provides a certain sense of energy and speed that comes with any cosmopolitan city however I consider the city to be a big village (I lived in New York City for ten years and loved every moment):-).  Why?  Well for example, on Sundays, many a shops and centers of commerce are closed.  People generally do their food shopping at the open air markets, go to the museum, cinema or theater, engage in sports, or meet with family and/or friends over a long cup of coffee, glass of wine or meal.  Sunday is a slow day with less traffic and congestion.  I love Sundays in Paris (Sundays in New York are nothing like those of Paris) :-).  

I love the culture, people, food, wine, general life philosophy (pleasure and work can and do coincide), old history, architecture and poetic language.  I also for the first time do not have to worry about affording health insurance.  The French government offers universal health insurance (one of the best systems in Europe) and an unemployment system for artists that is far more supportive than in the US.  Also imagine as an artist, even as a freelancer, a part of your wages goes towards vacation pay (Congé Spectacle).  You can choose to use this saved money on vacation or however you wish.  The advantages and disadvantages is the high tax rates one must pay.  However I do not mind because at the end of the day we, artists in particular, are all able to see a doctor, enjoy a vacation and have some financial security in between gigs.  Many American artists refuse to return to the US until the health insurance issue is fully sorted and securely in place.  Thank God for Obama Care!!!  Pardon my digression, but I sincerely hope Obama Care survives, is improved upon (increased inclusivity of all Americans of all income levels) and becomes a true part of the American fabric and culture.  We need to return to having a sense of communal responsibility versus the existing individualistic, me me me approach to living.    

To live in an old place with so much historical richness, not all good or bad, creates room for so much imagination and inspiration.  I love that we (my husband is Parisian) live in a Napoleon style building.  I love the lifestyle (less emphasis on capital gain and more on human connections and taking pleasure in life).  It is simply a beautiful city that has its vast and diverse advantages and coupled with it's fair share of challenges and obstacles.

Q: Any advice for budding choreographers and dancers?

A: Some ingredients for success

• Endless cups of faith

• Continual flow of passion

• Deeply rooted confidence

• Infinite quantities of determination

• Mature and grounded work ethic

• Thinking outside of the box and forever pushing the envelope of self evolution and re-

• invention 

• Making real human connections with the people in the field.  This will help expand your horizons and push your preconceived self inflicted limitations. 

• Karma is a reality and sprinkles of generosity are wise - share with others and always be thankful and express your gratitude!!!

• Never cease to create new dreams    

Wanjiru Kamuyu

Q: Do you have any big plans for the future?

A: I dream to one day have WKcollective, my multi-media project based dance company, tour the world.  I also dream to one day have Urembo Designs, my jewelry line, be sold on a large international scale adorning people of all walks of life.  I want to continue performing in work that is very satisfying, inspiring and intellectually stimulating as a dancer and dance maker.  Works that are catalysts for social, political and spiritual change.

On a personal note I want to be the best wife, friend, sister, cousin, grandchild and possible future mother I can be.  I want to be of service to my community.  I want to fulfill my life's purpose and never take for granted the gifts and talents God has ordained and anointed upon me.  I simply want to keep doing what I love to do!

Interview with current FTC member CJ Burroughs

Company member Lena Oren sat down with fellow company member CJ Burroughs to ask her some questions about her experience with FTC. 

Q:  How are you liking FTC?

A: FTC is quite a commitment, but it is a rite of passage that all freshman must go through. The amount of time and effort that is required of us is demanding, but the real-life company simulation is priceless. Learning full pieces in less than a week, learning how to handle the logistics of a tour, and bonding with your classmates are integral to working in a professional company one day.
  

Q: What have you learned from this experience?

A: I've learned a cornucopia of specific skills that will undoubtedly be called upon me as a professional dancer. Specially, each guest choreographer that has come brings their own lessons to teach us.  Wanjiru Kamuyu  taught us how to gain a choreographer's attention and trust, how to breathe to your advantage, and how to pick up on details quickly. Jillian Hooper taught us how to translate a broad idea or vision into choreography and how to manipulate choreography individually.  Alexandra Bellar taught us how to generate choreography quickly and how to develop relationships with people on stage.  In addition, I'm sure that we will all learn a lot about the inner workings of a company when we go on tour next month.

Q:  What are some of your fondest memories at The University of Michigan so far?

A: Some of my fondest memories at University of Michigan include being introduced to the small freshman class of dancers in the first weeks of school, taking master class with Crystal Pite, going to the Lodge, visiting the Movement Science research labs, and eating at Zingerman's.

Q: What has been your favorite part of FTC?

A: My favorite part about FTC is having guest choreographers come all the way to Michigan to choreograph on the youngest students here. I love how we take this class and gain these experiences as a freshman, as opposed to being a junior or senior.

Q: What are some of your duties as a company member?

A: All of the company members are dancers and collaborators, but we also have designated roles. I am the Historian who takes informal and formal pictures as well as video taping all of our repertory for reference. My NIKON Coolpix camera is well-used.  I also work on publicity.  I've written press releases and in the future I will design the layout for our performances, create and distribue programs, and help design a poster.

Q: Are you excited for the performance tour to start? What are you expectations and hopes for the tour?

CJ Burroughs 

A: I know that our class will have great time bonding while on tour, but I also hope we get to interact with the people we are performing for, especially the smaller venues. I hope that by going to untraditional performance venues, we will outreach and advertise for how wonderful and powerful dance can be to different parts of Michigan.

Q: Is there anything else you would like to say?

A: Come to our performances! They will change your life!

  

Interview with Jillian Hopper

Lena Oren interviewed choreographer Jillian Hopper, a former MFA student at the University of Michigan,  who created a work on the Freshman Touring Company in January. Jillian choreographed the piece on all fourteen company members and we were all so excited to work with her.  Here are the questions asked in the interview.

Q: What is the name of the piece?

 A: I've Been Out

 Q: Who is the Composer?

 A:Prosthetic Hands [Producers Joshua Harrison, Keith Kemp]

 Q: What is the concept behind the dance?

 A: An exploration of being in and out of sync with yourself and your surroundings. It's about conformity. Initial inspiration: I had this initial idea about wanting to make a work that explored how I learn/have learned things the hard way most of my life. How could I do that through movement without any overt emotional expression in a group work? I didn't want it to become cathartic but more universal. As the work developed I realized that we as human beings all feel like an outsider at one point or another, usually when having just learned a lesson the hard way, and I went from there.

 Q: Can you tell me a little bit about your collaboration with the composer?

 A: This particular collaboration was pretty easy. My composer is also my husband and we are used to working together but we had thought to make the music for the work come from the movement. After filming the rehearsals, Joshua watched the footage and was reminded of a piece he composed with his fellow Prosthetic Hands producer Keith Kemp last year. He played the music while watching the rehearsal footage. It fit so well, we decided to keep it.

 Q: What were some of your fondest memories at the University of Michigan?

 A: All of it. The stress, the tears, the pressure, the dancing, the joy of accomplishing something on a regular basis. Being engaged physically and intellectually everyday with people who are now solid fixtures in my life. It was all pretty amazing.

 Q: What was your MFA show like?

 A: My MFA show was a site specific dance at the Ross School of Business. The work was filled with poetry, dance, film, and live music. I created all of it including the script for the sound score which Joshua and three jazz musicians brought to life. It felt exciting at the time and the memories are still exciting to me. 

Q: Do you prefer performing or choreographing? Or visa versa?

 A: Prior to my MFA I would have said that performing was more gratifying. However, I don't think that's the case anymore. They are of equal importance to me. I feel passionate about both for different reasons and in different ways. I feel that my career as a choreographer is only just beginning and as my body matures (that sounds better than my body getting old) I am discovering how it looks and feels different in performance. My choreography and performing feed each other.

 Q: What have you been up to since graduating?

 A: Since graduation I have been teaching ballet and contemporary and choreographing small works for UMich and for some dance studios near detroit. I've also been planning the launch of my dance company called Jillian Hopper Dances which should premiere in April this year.

 Q: Do you have any advice for budding choreographers and dancers?

 A: Don't give up or compromise when things get tough. Find creative ways through things and be spiritually/emotionally open with yourselves and those around you. Be present!






Photograph by Jeff Pearson Photography