By Matt McDermott
How is each season's program decided at your dance company?
The season is decided in a couple of ways. The first is I try to create new ways to both challenge and entertain my audience. I want every show to be a new experience whether it is a full evening length ballet or a show devoted entirely to company rep. The other way is completely specific to my dancers. I look at them and try and find choreographic works that make them stronger and more versatile artists. Instruments of Movement (IOM) has a great group of artists within it and the variety of their rep is so vast that the emphasis of their training is on versatility. My choreography, for instance, is influenced by contemporary, classical, and urban dance forms, so my dancers, of course, need to be strong in everything, not just one specific genre. That's what keeps the audience coming and that's what keeps the company happy.
What criteria does an artistic director use to find new talent and where does talent come from today? What would you say are the main talent development efforts in Chicago?
Well that's a difficult question because talent, I feel, is in the eye of the beholder. I would have to say though that soul to me is the most important aspect of talent. Pure, raw, soul...and to me it is the hardest thing to find. There is plenty of talent out there in fundamental terms (composition, technique, aesthetic), but to find talent with soul, heart and intensity, that to me is the needle in the haystack.
I would have say that no matter what the effort, the emphasis should be directed towards creating artistic ideas, not commercial ideas. I have two examples of great ideas for developing talent here in Chicago. The first is the choreography project for Dance Chicago. I think it is great idea, but the same choreographers are picked every year. Also, the same companies are chosen to perform these pieces every year. So to me, no talent is really being developed. I see so much talent out there, companies with extremely low funding putting out innovative work - good, well-oiled choreography - and it saddens me to see the same four or five names listed as choreographers and the same four or five companies who, coincidentally, have plenty of funding to commission their own rep, performing in this project year after year.
My other example is the Chicago Dancemakers Forum. This is a great idea also, and it is truly devoted to developing young talent here in Chicago. Every year three different artists are chosen and they receive funding for a year to really develop and explore their ideas. They break down the process for each choreographer and have meetings throughout the process to give each awardee the opportunity to hear constructive criticism. This process is also well-organized, giving each artist the best possible hope in preparing a dance work that is clear and well-crafted.
How involved is your dance company in community affairs in Chicago? Do you appear at any schools or cultural centers to this end?
We like to do a lot of different things to give back to the community. We invite schools to see performances: the dancers and I teach master classes all over the area for high school after school programs in dance. We will also set up choreography for school dance groups that are interested. Many of the dances in our rep speak directly to younger audiences because of our work's urban flavor. And we enjoy inspiring young talent with different events such as residencies and lecture demonstrations. We also perform at many different charitable events: for different nonprofit organizations such as The Make a Wish Foundation, for example.
How receptive or supportive a community is Chicago of the dance community?
That is a good question and I don't know if I am able to answer it. I think the Chicago community is very supportive of my company, knock on wood, but I don't really know about the rest of the dance community. I develop my concerts for dancers and non- dancers alike, while other companies go a different route. I try to focus on universal ideas, while others are more obscure. I do know, however, that it is very hard for young companies to develop a following. I still have a nervous breakdown before every show, worrying about whether or not people will show up. The majority of the community that does support dance normally supports the Big Three dance companies here in Chicago.
Who has had the greatest influence on your dance career?
Well I have had quite a few and many have taught me what to do and what not to do. Some I have worked for and others: I have only seen their shows. Some have inspired my movement, others have taught me composition. There is Gary Abbott, Joel Hall, Kevin Iega Jeff, Donald McKayle, the list goes on, but if there is anyone who has mentored me throughout my career it would have to be Venetia Stifler. Venetia has taken me under her wing and showed me how to do things the right way. To build your foundation strong then work your way up. Our relationship started in college and I have been learning from her ever since.
For someone exploring the Chicago dance world, how would you describe what is unique about your dance company's approach and the pieces it presents?
We are truly unique for a number of reasons. We are a multicultural dance company and that is very important to me. Every race, creed and sexual orientation calls IOM home and that is a beautiful thing. We focus on breaking ethnic stereotypes in dance, i.e., that black people dance this way and white people dance another way. I enjoy pushing the envelope, maintaining a level of edginess to our work. I want people to be affected by our shows. The individuality of these artists is extreme yet we can form an amazingly sound and focused ensemble. And the rep itself crosses so many genres of dance that our versatility becomes our signature style. We are Instruments of Movement, and it is plain as day when you see a show. I think people need to see IOM for themselves though.