Before retiring from performing in 2007, Lisa danced for numerous choreographers including Julia Sasso, Judith Garay, Wen Wei Wang, John Ottmann, Christopher House, Helene Blackburn, Barbara Bourget, Kathryn Ricketts and Henry Daniel. Her work has been presented throughout the lower mainland, including Vancouver’s Dancing on the Edge Festival, Twelve Minutes Max, and the Vancouver International Dance Festival. Lisa’s journey into the realm of choreography is inspired by her belief that the visceral language of dance can speak at times more comprehensively to human experience than simple words can convey.
Lisa holds an MA in Counseling Psychology and teaches Pilates in West Vancouver.
At this point in my career, I am most interested in exploring relationships between people. The title of this piece is ‘when you go I will miss you’, and in it I am hoping to create/capture a moment in time where two people are allowed to acknowledge the meaningfulness of their relationship with the understanding that it is going to change.
The framework of the piece has already been choreographed (on a man and a woman), so dancers will first be learning this vocabulary and then we will be mutually exploring changes and growing the structure and breadth of the piece so it is unique to their bodies and life experiences.
In terms of goals, I would like to stay focused on keeping a sense of balance/ integrity between the choreographic vocabulary and the relationship between the dancers- i.e., that the choreography doesn’t overpower the relationship, and that the relationship doesn’t overpower the movement.
Hailey McCloskey is a professional dancer and anthropologist, having received her formal training at the School of Toronto Dance Theatre and the University of British Columbia. She combines these two passions in her work in performance, education, creation and community engagement. She is working with Karen Jamieson Dance in a mentorship addressing community engaged dance practice in the DTES and performance and choreography. Last year she collaborated as a dancer in the Body Research experimental dance film Accidental Tourists in wilderness areas along the coast of the U.S., and continues to question how we can activate the wild body within culturally structured urban spaces.
What I am curious about exploring in this process is the concept of the sensitive and earth connected body and how it adapts to the structures, both tangible and intangible, of urban life. Some questions I have are related to how the experience of how earthing or grounding can be accessed in spaces that require us to monitor and tame our sensational existence. There are some deeply organic movement impulses that bring us in touch with instinct and intuition, and thus connect us in a literal conversation with nature. How has this sensual relationship to the natural world been co-opted into cultural and social structures? Where does this subtly wild body become freed in the city?
to determine spatial experiments that reveal something about how we move through architecturally structured spaces, and how this become socialized
to find new ways to access choreography that are both sourced from authentic and improvisational practices, and include an element of tribal repetition and unity
to find a choreographic voice that can address social, cultural issues through a strong visceral experience, to make a link between the knowing brain and the knowing body, to expose this sensitivity
Philippa (Pippin) Myler is a freelance contemporary dance artist living in Vancouver, B.C., Canada. As an independent contractor, Myler has had the privilege of dancing for Vancouver choreographers Barbara Bourget and Jay Hirabayashi of Kokoro Dance, and she has also danced in two original works by Kim Robards in Denver, CO. Philippa has performed her own choreography in productions such as 12 Minutes Max at the Firehall Arts Centre and The Cultch’s Ignite! Youth Festival. She also choreographed a full evening of work for Port Moody’s Wearable Art Awards. Myler was featured in a dance film choreographed by Anna Kraulis, which won an honorable mention at the Toronto Urban Film Festival and was shown at the Firehall’s BC Buds and Moberly Arts Centre’s Interplay Projects. Philippa has also performed in an interactive visual arts gallery exhibition by Chris Boni in Vancouver and for mixed-media installation artist Carlos Sandoval in Berlin, Germany.
My concept for this new work centres around the idea of “perfection.” I am inspired by the notion that “if you can’t do something perfectly, don’t do it at all.” The mode of exploration I envision for this piece is through deconstructing the physical structures of ballet vocabulary because that holds so much meaning for my own personal quest for perfection. I’d also like to incorporate text (for example, “I’m not even sweating!” and “Nothing’s impossible if you try hard enough!”) I’d also like to investigate the personal struggles of the dancers by asking them what they strive for in life (maybe grades? maybe to be a fantastic girlfriend?), so I can get a broader look at perfectionist behavior. I have begun generating material through improvisation in collaboration with the dancers, and setting them tasks for exploration. They have also been assigned research material to bring to the studio, so we’ll see where that takes us!
-Find my voice as an independent choreographer (rather than in collaboration with others).
-Experiment with different genres (eg: contemporary ballet, tanztheater, modern forms), making different decisions than usual with the help of mentors.
-Find a stylistic mode that suits my aesthetic inclinations and will be a vocabulary that can express my concept clearly.