June 8, 2021 | by Carolyn Dzul The COVID-19 pandemic left us with many new obstacles and challenged our skills as artists in society. This spring at the Peabody Institute, faculty, staff and students worked side by side to create a semester where students could interact beyond the virtual screen. The BFA Dance program<\/a> overcame this transition by switching from a completely virtual fall semester to a hybrid spring semester. With the return to campus, junior dance students had more resources available to help present a broader range of work for the student showcase. The Viewpoint: Student Choreography Showcase<\/em> presented collaborated choreographic dance films that were streamed through the Peabody website for family and friends to watch. <\/p>\n\n\n\n As a saxophone student at Peabody, I had to adjust to the pandemic by playing in a PPE bag and wearing a mask with a hole for the mouthpiece –something I found annoying as I constantly had to readjust it around my face. With little knowledge of dance, I was curious to find out how the junior dance students adjusted to this new reality of COVID-19 and the new challenges posed by it. How did Peabody\/JHU help with this adjustment? What inspired their choreography? What did they reflect from their experience and what advice would they give to other choreographers? I interviewed Rebecca Lee (BFA 2022) from Failure to Comply<\/em> (Julia Asher<\/a>, Chase Fittin<\/a>, Rebecca Lee<\/a>, and Clare Naughton<\/a>) and Aren Vaughn (BFA 2022) from Lucid: An Excerpt<\/em> (Aren Vaughn<\/a>, Natalie Colony, Chase Benjamin<\/a>, and Jasmine Vaughn) to find out more about their thoughts on the process. <\/p>\n\n\n\n Rebecca Lee spoke about the group\u2019s development of the piece Failure to Comply<\/em>. She explained, <\/p>\n\n\n\n \u201cThe choreographic process was inspired by our experience this past semester. It was a way for us to express the inflicted trauma we\u2019ve undergone as students. The process came very naturally once we had a clear vision of what it was, we wanted to say. We wanted to share the pain, frustration, and the feeling of being ostracized from a place we love. The roles we shared in this work were based on collaboration and vision. We all did a great job at supporting one another\u2019s ideas throughout the process to really bring out a finished product that we were proud of.\u201d<\/span><\/p>\n<\/blockquote>\n\n\n\n With their vision to convey the challenges faced as dancers from the pandemic Lee elaborated on the skills her group used to help bring forth their work and how music played a role. <\/p>\n\n\n\n \u201cIn terms of editing, all praise must go to Julia Asher as she edited the entire film in very little time. Her talent is exceptional. What I really did gain from this experience was the true collaborative effort from all four of us in the development of our vision. It was amazing to bounce ideas off of one another to create something meaningful. In [the] use of Elvis\u2019 \u201cSuspicious Minds,\u201d we really found inspiration from the words itself. Music has always played a significant role in the process of creation, and to find a perfect piece of music doesn\u2019t happen often. The minute we heard this song, we knew it was perfect for our vision.\u201d <\/span><\/p>\n<\/blockquote>\n\n\n\n The hybrid spring semester gave dance students access to campus. Practice rooms and rehearsal spaces were available, and this helped them plan their works to present in the showcase. With the university encouraging students to get vaccinated, the dancers believed that their work would be presented to a live audience. However, with health guidelines proving to be a moving target, their choreographies ultimately needed to be turned into film. Lee explained how with limited experience and resources, the dancers worked with their teachers around the clock to complete their films. <\/p>\n\n\n\n \u201cBesides the support from our choreography teacher Christian Denice<\/a> and danah bella<\/a>, [it was] our creative drive and personal investments [that] made it possible to produce this film. The need to transfer our choreography onto film was something that the department found out extremely last minute which presented a huge obstacle for many of us choreographers. To envision something for the stage versus film are two entirely different things. With film, a whole new array of opportunities and decisions come into play. There really is something fun with being able to give the audience an entirely different perspective through the lens of a camera.\u201d<\/span><\/p>\n<\/blockquote>\n\n\n\n As a viewer of the livestream event, I found their film to be a unique experience. The angles from the camera and the transition to different scenes felt as if I was in the environment with them. The ability to see their face expressions and body movements up close is something I would not be able to experience in a stage performance.<\/p>\n\n\n\n Lastly, I asked Lee about what she had learned and if she had advice for future choreographers.<\/p>\n\n\n\n \u201cThis experience has given me the opportunity to prove to myself that despite the challenges and obstacles bestowed upon us, creation is still possible. I have learned throughout this process the value in supporting one another not only collaboratively, but emotionally as well. This past year has been anything but easy, however, I have learned how to lean into the challenges to better myself and those around me. My advice to other choreographers would be to continue to stay true to yourself. Keep creating no matter what. Always remember that what you have to say is important, and worthwhile. There will always be great moments of doubt, but you have to stay committed to the authenticity of your work. Never stop fighting for dance.\u201d<\/span><\/p>\n<\/blockquote>\n\n\n\n
Edited by Christina Manceor<\/em><\/p>\n\n\n\n
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