WEBVTT

00:00:13.368 --> 00:00:15.368
Hello and welcome. I'm Samantha Basting and I'm Kristen Tobin and we are

00:00:18.500 --> 00:00:26.500
the co-produced and choreographers of
emerging artists. 222,

00:00:26.568 --> 00:00:31.736
two,

00:00:31.769 --> 00:00:35.945
we wanted to take a moment to explain
just a little bit about our research

00:00:35.978 --> 00:00:41.186
interests and creative process.
Kristen and I were adamant about creating

00:00:41.219 --> 00:00:45.945
a through line or common ground for
our concert. And together we came up

00:00:45.978 --> 00:00:51.426
with two particular goals. One is
increasing public value and

00:00:51.459 --> 00:00:55.807
participation in the arts. And second
is cultivating audience development

00:00:55.840 --> 00:01:00.036
for contemporary dance in doing so,
we're investigating the relationship

00:01:00.069 --> 00:01:06.016
between um understanding contemporary
dance and the creative process.

00:01:06.049 --> 00:01:12.706
So for myself, I was really interested
in challenging my own

00:01:12.739 --> 00:01:18.796
instincts as a choreographer,
challenging my assumptions, as well as the

00:01:18.829 --> 00:01:24.805
audience's assumptions about how and
where dance is produced within the

00:01:24.838 --> 00:01:32.838
theater itself. Um And then I was
interested in kind of creating

00:01:34.290 --> 00:01:40.967
a loose surreal like narrative that is
really framed within a very exposed

00:01:41.000 --> 00:01:44.055
structure.

00:01:44.088 --> 00:01:49.626
For my research, I became interested
in understanding um general audience

00:01:49.659 --> 00:01:55.376
perspectives and how they make meaning
um when watching contemporary dance.

00:01:55.409 --> 00:02:00.016
And so for my creative process, I at
least I'm trying to create a lens

00:02:00.049 --> 00:02:05.906
through which um I perceive the
fields. Um But in doing so, I also wanted

00:02:05.939 --> 00:02:11.346
to investigate how practitioners of
the field uh make sense of it,

00:02:11.379 --> 00:02:18.987
understand it or um watch it. And so,
um I asked questions like, what is

00:02:19.020 --> 00:02:22.906
contemporary modern dance? What does
it look like? Um How would you

00:02:22.939 --> 00:02:28.725
describe it in terms of action words
or thinking about maybe parameters or

00:02:28.758 --> 00:02:32.017
boundaries within the field?

00:02:32.050 --> 00:02:36.146
And secondly, I was interested in
figuring out if there was an appropriate

00:02:36.179 --> 00:02:41.406
mindset or attitude in order to watch
it um or view it or make sense of it

00:02:41.439 --> 00:02:49.166
, which is where those surveys, the
pre and post concert handy are

00:02:49.199 --> 00:02:55.346
annoying surveys come into play. Um
It's really important if you haven't

00:02:55.379 --> 00:03:02.166
done so already fill out the
preconcert survey uh so that we can um gather

00:03:02.199 --> 00:03:07.077
the information and try to understand
what your opinion is before viewing

00:03:07.110 --> 00:03:11.866
the concert.

00:03:11.899 --> 00:03:19.899
The

00:03:23.449 --> 00:03:30.446
then, then, then boom, doesn't it do
that? And then later, um once you

00:03:30.479 --> 00:03:34.286
fill out the post concert survey, try
to gather if there were any um

00:03:34.319 --> 00:03:39.505
shifts in expectation or um changes in
how you view or make sense of

00:03:39.538 --> 00:03:44.876
contemporary dance. And for those of
you who fill out a pre and post

00:03:44.909 --> 00:03:51.835
concert survey after the show, you
might get a free T shirt

00:03:51.868 --> 00:03:55.656
at random, randomly

00:03:55.689 --> 00:04:00.906
enjoy the concert. But before that, we
have to quee Bill, don't we? Yes.

00:04:00.939 --> 00:04:06.366
Cue Bill

00:04:06.399 --> 00:04:10.995
Bill. Welcome to the dance studio
theater. And this performance of

00:04:11.028 --> 00:04:15.366
emerging artists too, featuring the
Capstone choreography and performance

00:04:15.399 --> 00:04:19.776
work of Masters of fine Arts
candidates, Samantha Basting and Kristen

00:04:19.809 --> 00:04:26.676
Towson, your host Herberger College
Dance. So we don't disturb our patrons

00:04:26.709 --> 00:04:31.166
and the performers on stage. And due
to copyright laws, the use of cameras

00:04:31.199 --> 00:04:37.075
, camera phones and recording devices
is not permitted. We ask our patrons

00:04:37.108 --> 00:04:42.046
to turn off all watch alarms, pagers
and cell phones and of course at no

00:04:42.079 --> 00:04:45.687
time is telephone conversation allowed
in the theater during the

00:04:45.720 --> 00:04:50.026
performance. Thanks for helping to
make this performance better for

00:04:50.059 --> 00:04:58.059
everyone. Now, in just a few moments,
emerging artists too

00:09:52.519 --> 00:09:59.927
well, dancing, dancing is such a, as
you said, broad activity and one

00:09:59.960 --> 00:10:07.696
dances for so many reasons. I think
today my view is that everything is

00:10:07.729 --> 00:10:12.366
contemporary dance, whether we look
at. Uh so you think you can dance or

00:10:12.399 --> 00:10:15.255
dancing with the stars, it's all
contemporary dance because for me, it's

00:10:15.288 --> 00:10:20.917
reflective of the times in which we
live in. Uh when we look at just the

00:10:20.950 --> 00:10:28.950
subset of modern dance, I think we're
looking at an area in which people

00:10:29.918 --> 00:10:35.635
like to dance with ideas. I think that
it has a unique position. It tends

00:10:35.668 --> 00:10:40.726
to kind of defy classification in a
way uh which weirds people out about

00:10:40.759 --> 00:10:45.736
it, I think. And it's so all embracing
all encompassing, there's a very

00:10:45.769 --> 00:10:51.236
wide spectrum, unlike other forms that
are a little more codified and have

00:10:51.269 --> 00:10:58.359
specific vocabulary and content, you
know, uh contemporary is very open.

00:10:58.570 --> 00:11:00.570
Sometimes it's better just to say the word movement. It seems like the

00:11:02.558 --> 00:11:07.525
best way you could describe it is what
it's not, it is not ballet and it

00:11:07.558 --> 00:11:13.787
is not jazz but contemporary modern
dance can almost fall everywhere in

00:11:13.820 --> 00:11:21.820
between those two items. There is no
longer an accepted set of criteria

00:11:22.399 --> 00:11:24.755
and I think that that's the most
wonderful thing about where a

00:11:24.788 --> 00:11:29.746
contemporary modern dance is. But
aside from that, I don't think that that

00:11:29.779 --> 00:11:33.726
there's so many people doing so many
different things in so many places

00:11:33.759 --> 00:11:38.996
that the idea of uh coalescing it into
one definition doesn't, doesn't

00:11:39.029 --> 00:11:45.316
work for me, be very self-limiting to
sit there and say this is what it is

00:11:45.349 --> 00:11:50.885
and set it into a pretty little
picture that has boundaries. Um I, I think

00:11:50.918 --> 00:11:54.557
one of the things that dance continues
to do is break those boundaries. So

00:11:54.590 --> 00:12:01.895
what may be um the thing uh today is
not the thing tomorrow.

00:12:01.928 --> 00:12:06.326
I think the boundaries of it is that
it, it requires

00:12:06.359 --> 00:12:08.366
interaction.

00:12:08.399 --> 00:12:12.025
It's, it's um

00:12:12.058 --> 00:12:20.058
it's an, it's an art form that does
not allow the audience to be passive.

00:12:20.308 --> 00:12:27.547
It, it engages with the audience
whether they like it or not. Basically,

00:12:27.580 --> 00:12:33.696
it can go from sitting on stage with a
blank expression to diving in and

00:12:33.729 --> 00:12:39.307
out of the floor to very athletic
movement, lots of inversion. But I think

00:12:39.340 --> 00:12:44.226
the the spectrum again is so broad and
that there's a real interest in

00:12:44.259 --> 00:12:49.505
taking physical risks and throwing the
body off balance and then

00:12:49.538 --> 00:12:53.976
recuperating. You see inversions with
less and less movement. It's more

00:12:54.009 --> 00:12:59.167
about the idea um on the arm and kind
of movement, walking, sitting

00:12:59.200 --> 00:13:05.316
wearing cool sunglasses, making crazy
faces. Um But then you have the

00:13:05.349 --> 00:13:11.856
other and be an interest in some
flinging movement. Uh whether it's the

00:13:11.889 --> 00:13:17.385
legs flinging or the arms flinging,
the focus is not so much outward but

00:13:17.418 --> 00:13:21.667
more internally focused, internally
driven use of three dimensional space

00:13:21.700 --> 00:13:28.177
, thematically, you might see dance
that keeps broadening tries to be

00:13:28.210 --> 00:13:34.145
provocative. Identity is very social
and politically evolve work. You

00:13:34.178 --> 00:13:39.537
might see work that has a lot of
projections onto the stage. So, so those

00:13:39.570 --> 00:13:42.657
are some of the features. I think

00:13:42.690 --> 00:13:48.645
there's no hierarchy, broad physical
risks, little picture

00:13:48.678 --> 00:13:56.678
really confining subset subset the eye
has a a way of looking at things,

00:13:57.479 --> 00:14:04.635
the spectrum and mere feet and mere
feed feed we're in between them,

00:14:04.668 --> 00:14:11.616
highlighting coalescing

00:14:11.649 --> 00:14:15.625
and flinging the focus dance with
ideas.

00:14:15.658 --> 00:14:20.177
It's reflective of the times in which
we live in needs that engagement,

00:14:20.210 --> 00:14:24.375
expecting, diving in and out of the
floor,

00:14:24.408 --> 00:14:30.736
I racing sunglasses.

00:14:30.769 --> 00:14:38.769
The line is very blurry right now.

00:14:43.320 --> 00:14:51.320
I would hope that anyone watching
contemporary modern dance um would be

00:14:52.529 --> 00:14:55.417
willing to accept

00:14:55.450 --> 00:15:03.450
non verba liable content as being
valid

00:15:14.849 --> 00:15:22.177
and would be aware of one's own
kinesthetic response and consider that

00:15:22.210 --> 00:15:27.635
part of the experience and one's own
emotional response and consider that

00:15:27.668 --> 00:15:34.226
part of the experience and not be only
looking for

00:15:34.259 --> 00:15:40.515
content and result that could be
easily put into.

00:15:40.548 --> 00:15:48.548
I always go expecting to be moved or
changed or see something that I have

00:15:49.658 --> 00:15:55.275
not seen before.

00:15:55.308 --> 00:15:59.907
It doesn't always work. I always hope.
I'm surprised. I always hope that

00:15:59.940 --> 00:16:03.177
there is something there that I
haven't seen that it's somebody's

00:16:03.210 --> 00:16:08.927
individual, unique take on what it is
that they're looking at. Uh, don't

00:16:08.960 --> 00:16:15.057
try to take any meaning from it. Don't
try to

00:16:15.090 --> 00:16:20.157
think that you have to know what it's
about. Uh just come and enjoy and

00:16:20.190 --> 00:16:26.596
whatever you get from it. Yeah, I'd be
content.

00:16:26.629 --> 00:16:32.797
Well, I think that in all of those, in
all the art experiences, um There's

00:16:32.830 --> 00:16:36.015
the hope that for

00:16:36.048 --> 00:16:42.927
a time, at least that you are
psychologically in a different place than

00:16:42.960 --> 00:16:47.515
you were before you entered it, your
thoughts, your feelings, your body

00:16:47.548 --> 00:16:54.515
rhythms, your um the way you look at
the people and places around you, the

00:16:54.548 --> 00:16:59.356
way you hear what's going on that, you
know, your perceptions are changed

00:16:59.389 --> 00:17:07.389
for a time. You'd hope that your pores
would be more open afterwards.

00:19:24.318 --> 00:19:32.318
And

00:19:47.209 --> 00:19:55.209
this is cool.

00:20:59.858 --> 00:21:07.858
OK.

00:21:49.209 --> 00:21:52.055
Yes,

00:21:52.088 --> 00:22:00.088
let's do.

00:23:42.699 --> 00:23:50.699
Maybe

00:28:47.880 --> 00:28:53.545
join us this evening. I am Samba and
I'm Christian. And for this next

00:28:53.578 --> 00:29:01.347
piece, Little Dance Experiment with
our audience. So 15 minutes we are

00:29:01.380 --> 00:29:07.607
going freeze and try to turn it into
the damp.

00:29:07.640 --> 00:29:12.276
We thought it'd be good based on our
research interests.

00:29:12.309 --> 00:29:18.377
A little bit about the creative
process. Yeah, for choreographers and

00:29:18.410 --> 00:29:24.617
dancers alike. So please take a minute
to look underneath your seat if you

00:29:24.650 --> 00:29:31.535
are

00:29:31.568 --> 00:29:36.166
that

00:29:36.199 --> 00:29:44.199
everybody but some of you will find

00:29:50.568 --> 00:29:54.496
sit down.

00:29:54.529 --> 00:30:02.529
There's a, there's one. Yeah. Yeah.
Participant. Yeah. OK. Great

00:30:03.189 --> 00:30:07.736
card is a direction. That's why is
giving us information about maybe

00:30:07.769 --> 00:30:11.766
changing,

00:30:11.799 --> 00:30:14.597
changing the paragraph

00:30:14.630 --> 00:30:22.630
or maybe adding a to make Thera

00:30:22.640 --> 00:30:26.575
Yeah. And the first thing that we're
going to do you our original phrase

00:30:26.608 --> 00:30:31.647
that and it's pretty short

00:30:31.680 --> 00:30:37.496
that we put together with Mary
Fitzgerald.

00:30:37.529 --> 00:30:45.529
Little bit of

00:30:46.229 --> 00:30:54.229
OK, gonna show.

00:31:46.348 --> 00:31:53.085
Great. So if you could return to the
card, A B and C card, the A card

00:31:53.118 --> 00:31:56.847
gives us a qualitative instruction.

00:31:56.880 --> 00:32:02.526
Sorry to consider that will probably
change um the appearance of the

00:32:02.559 --> 00:32:10.035
phrasing substantially in some um the
V card is of a choreographic

00:32:10.068 --> 00:32:16.686
structure, order, the phrase and the
organization of the phrase, the C

00:32:16.719 --> 00:32:22.476
card kind of gives us a beginning and
an end to make the phrase feel as

00:32:22.509 --> 00:32:28.276
complete as we can. So is there any a
cards that someone's really excited

00:32:28.309 --> 00:32:35.506
about? We need an enthusiast, Lisa,

00:32:35.539 --> 00:32:39.785
you hand free

00:32:39.818 --> 00:32:47.818
gradually increase the speed of the
frame. Another aar Yes. Mhm.

00:32:50.039 --> 00:32:58.039
Oh Yes, we've got that one. I great
and final suggestion,

00:32:59.739 --> 00:33:04.397
do the phrase entirely out of the door

00:33:04.430 --> 00:33:08.686
to take an audience vote. So by uh an
enthusiastic round of applause and

00:33:08.719 --> 00:33:13.147
booing and cheering, go ahead and
submit your vote. So increase the speed

00:33:13.180 --> 00:33:20.075
of the phrase.

00:33:20.108 --> 00:33:27.147
Do the bra as if you're on the moon.

00:33:27.180 --> 00:33:29.496
And finally

00:33:29.529 --> 00:33:36.976
entire, I threw the phrase entirely on
the floor

00:33:37.009 --> 00:33:41.526
when you say that OK. OK.

00:33:41.559 --> 00:33:43.976
The frame.

00:33:44.009 --> 00:33:48.696
So Kristen and I may interpret this
completely differently. Um That's the

00:33:48.729 --> 00:33:51.357
joy of

00:33:51.390 --> 00:33:59.390
Yeah. Yeah. Oh Let me go along just
so, you know,

00:35:37.628 --> 00:35:40.445
so the big car

00:35:40.478 --> 00:35:43.506
they b because

00:35:43.539 --> 00:35:48.307
change your original face, a different

00:35:48.340 --> 00:35:52.997
one,

00:35:53.030 --> 00:35:56.026
enter from the audience

00:35:56.059 --> 00:36:02.175
facing and enter from the audience.
Each will take your card. Yeah, we're

00:36:02.208 --> 00:36:10.208
gonna play to decide who gets what?

00:36:13.510 --> 00:36:15.916
From the audience.

00:36:15.949 --> 00:36:23.949
Thank you

00:36:26.260 --> 00:36:34.260
as if from

00:38:07.300 --> 00:38:15.300
get another car. Ok. See card. It's
right here. Ready to go and

00:38:17.699 --> 00:38:22.057
like a

00:38:22.090 --> 00:38:30.090
you know,

00:38:34.989 --> 00:38:40.626
take a boat and use that as you who
would like to see enter and exit like

00:38:40.659 --> 00:38:48.659
a ninja.

00:38:55.449 --> 00:39:03.449
OK. Thank you for the

00:39:05.800 --> 00:39:13.296
all right. Are you in

00:39:13.329 --> 00:39:21.329
one

00:39:24.599 --> 00:39:32.599
fine? Yeah.

00:39:36.719 --> 00:39:44.719
Yeah.

00:39:50.059 --> 00:39:58.059
Mhm The most.

00:40:04.539 --> 00:40:09.595
OK. One.

00:40:09.628 --> 00:40:17.086
How easy?

00:40:17.119 --> 00:40:22.666
Great.

00:40:22.699 --> 00:40:28.445
And we will be doing the

00:40:28.478 --> 00:40:33.077
change for facing. I will enter from
the audience and remote. A ninja. Yes.

00:40:33.110 --> 00:40:36.756
 Like a ninja

00:40:36.789 --> 00:40:44.789
like sure for that.

00:40:59.148 --> 00:41:05.456
Mhm The

00:41:05.489 --> 00:41:12.997
mhm Car.

00:41:13.030 --> 00:41:18.537
He was

00:41:18.570 --> 00:41:26.396
who?

00:41:26.429 --> 00:41:31.526
Ok.

00:41:31.559 --> 00:41:37.247
Yeah.

00:41:37.280 --> 00:41:43.997
Call be

00:41:44.030 --> 00:41:50.256
well

00:41:50.289 --> 00:41:57.345
OK. Oh

00:41:57.378 --> 00:42:04.635
I,

00:42:04.668 --> 00:42:10.126
no,

00:42:10.159 --> 00:42:12.675
yes.

00:42:12.708 --> 00:42:17.146
Yeah.

00:42:17.179 --> 00:42:22.977
Oh

00:42:23.010 --> 00:42:31.010
yeah. I

00:42:54.510 --> 00:43:02.510
oh

00:43:20.369 --> 00:43:25.396
like you to take a 15 minute
intermission.

00:43:25.429 --> 00:43:29.856
Mega has that changed

00:43:29.889 --> 00:43:34.776
surveys that thank you.

00:43:34.809 --> 00:43:41.977
No,

00:43:42.010 --> 00:43:45.320
we like to do something for you now.