In 1993, she graduated from Die Etage, a performing arts college in Berlin, Germany. Following this, she danced as a principal with numerous companies in Germany as well as the United States. She was critically acclaimed for her performance as “Firebird” in Stravinsky’s Firebird with the Denver Symphony choreographed by Cleo Parker Robinson.
Since 2000, she has been choreographing solo dances inspired by great female choreographers resulting in five evening-length solo works that have toured nationally and internationally to critical acclaim. In addition, she choreographs for her own project-based company NY2Dance and has been commissioned by many noted dance companies.
Chicago Repertory Ballet (CRB) celebrates its 10th anniversary this weekend with three performances of TEN at the Athenaeum Center for Thought and Culture (2936 N. Southport Ave.) featuring two CRB favorites and three world premieres. This will also be the company’s 10th main stage performance. I asked artistic director Wade Schaaf how it feels to have reached this milestone. “It’s fucking huge,” they said. Agreed.
It was at the end of their career with Thodos Dance Chicago (TDC) that they had the idea to start a company. TDC’s New Dances program gives dancers the tools to do just that. They have the opportunity to choreograph, have mentors, learn how to create in a safe environment with talented dancers and a bevy of other resources. The last piece Schaaf choreographed for New Dances became the “anchor piece” for the premiere performance of CRB. “It was time for me to be done. My back was done and I’d been thinking a lot about how I was going to keep doing choreography,” they said. “I wanted to be able to create what I wanted to create. To me, it just made sense to open a company.” After taking time to get the “nuts and bolts” together, including registering as a 501c3, CRB incorporated in November 2011 and had its first show in September 2012.
CRB is a small, tightly-run ship with 10 full company members, three performing apprentices, a guest artist, and one non-performing apprentice. One of the dancers helps Schaaf with social media and the five-member board assists with additional administrative work like marketing and donor management. The rest is up to them. Schaaf come out as non-binary in 2020 and reflected on how that affects their work. “I think understanding myself on a deeper level has reshaped or reframed the way I look at all of ballet: my work, storytelling, training…all of it.” they said. “In my work in the organization, I’m focusing on DEI (diversity, equity, and inclusion) because gender identity or gender expression is a facet of DEI as well as the issue of race. How can we make fundamental change to free up space for people of various gender orientations or racial makeup so they can walk in the studio like mine and say that’s a place where I belong or could belong.” One idea that was implemented is dancers have a choice of four different recommendations for attire. Schaaf doesn’t give “boy” or “girl” combinations in class and has been playing with the concept of partnerships. “I come from that ballet place where there is a pas de deux that is a male and a female,” they said. “I just try to make partnerships that work. Why should all partnerships be male and female? Anyone can be anyone. It starts to open your mind. There are many possibilities. It’s an evolution.”
TEN showcases two works by Schaaf, excerpts from The Four Seasons and Grand Pianola Music: On The Great Divide, as well as a new neoclassical ballet set to the presto section of Mendelssohn’s First Piano Concerto. Other world premieres on the program from LA’s Mike Tyus and South Chicago Dance Theater’s Kia Smith round out the show. “It’s going to be a feast lovers of CRB and a good entry point for people who haven’t experienced the company before,” said Schaaf. “It’s great for all ages. There’s going to be an exciting variety.”
Tickets are available here or by calling 773.935.6875. A limited amount of free tickets for each performance are available through CRB’s Ballet For All program by calling the Athenaeum box office.
It’s that time of year again. Spring is almost here and as we anticipate longer, warmer days and the budding of new foliage, the Joffrey Academy of Dance presents their group of budding dancers paired with four emerging choreographers in their annual Winning Works (WW) program. After a covid cancelation in 2020 and move to digital in 2021, this year’s four world premieres will take place on the intimate stage at the Museum of Contemporary Art (MCA) debuting this weekend over four performances March 18 – 20. I hope you have your tickets, because the shows are already sold out! That said, keep reading to meet one of the winning choreographers who you need to know. Pay attention: you will be hearing his name more and more.
Derick McKoy, Jr. is busy, talented, and ambitious. Currently he is in grad school studying performing arts administration at New York University (NYU), works full-time as the Individual Giving Assistant in the development department at Alvin Ailey American Dance Theatre, and runs his own company McKoy Dance Project. A natural choreographer who has been creating dances since he was a kid, he didn’t start his formal dance training until age 14, but earned a position in the second company of Jubilee Dance Theatre by age 15. “In middle school I thought I was going to be a t.v. actor, but my school started a dance team and I changed my mind – I’m going to do that,” McKoy said. “I quickly became dance captain and was choreographing routines with the coach. I was also student council president so I launched a talent show for the whole school.” This drive and quick rise continued through college.
He received a scholarship to the Ailey School BFA program at Fordham University. “I love ballet, Horton, and Graham. That’s the perfect place to get those three,” he said. “It was very intense. Burnout was real, but it made me strong.” He capitalized on many opportunities there including dancing in the Ailey Spirit Gala, the groundbreaking of Vessel on Hudson Yards, and on t.v. shows Conan and Pose. He then performed with Nimbus Dance for two years and freelanced with The Black Iris Project before incorporating his own company in 2020.
McKoy is in Chicago this week for the premiere of his new work Road to Flames created on 20 dancers from the Joffrey Studio Company and Academy Trainees. We spoke via Zoom last week about his career and choreographic process. Here are excerpts of our conversation.
Why did you decide to start your own company?
I always wanted to have a company and be an artistic director. I just thought it would be later in mycareer. When the world shut down during Covid, I went home to Miami for a few months to recalibrate. When I came back George Floyd’s murder happened. It was the first time I self-reflected as a Black, Queer person – that could be me. It awoken something within me. I made a commitment. I can no longer use my choreography to not say something authentic about real issues. My work before that was performative. It was still dramatic and told a story, but now I can really get to authenticity and real human stories. Humanism, but also social justice. I was commissioned to do an evening-length work. Looking Out: A Stonewall Memorial incorporated two 45-minute pieces (Bloom and Pride). We performed it with the Opus 87 Piano Quartet in 2019. The dancers said they liked dancing under the name McKoy. The next year I incorporated.
How is being the leader, the artistic director?
It’s important to me. I’ve been frustrated by the lack of opportunities for people of color. Even theopportunities that do come are few and far between. You see the same choreographers getting the same opportunities. A mentor told me, “If you aren’t getting the opportunities you want, go make them.” I took that and ran with it. If no one is going to allow me to make dance, I’ll just do it. I expanded it to other people. I realized that dance is not my passion. Mentoring is my passion and dance is the vehicle in which I do it. I feel so confident in that intention. I mentor through dance. My company is big on allowing emerging choreographers the chance to work with professional dancers and dancers the option to explore other facets of their identities and talents. I like talkbacks. I like hearing the audience and the dancers conversate about the process and what they discovered about themselves. That’s the fulfilling part for me. I’m trying to create a nurturing environment.
How did you come to apply for Winning Works?
I was introduced to Winning Works fairly early. I wanted to apply when I was still in school, but couldn’t find the application. I haven’t told many people this, but when I pictured where my career track would go…Joffrey was one of the companies I was pulled to. The environment was like a company I wanted to be in, like a family. Now, I feel like I’m part of the family. I met everyone – Greg Cameron (CEO & President), the Board of Directors, the Executive Team…the Community Engagement department came and introduced themselves to me. I’ve never experienced that before. It’s usually mainly transactional. You come in, do your work, and leave. To have real conversations with people who are concerned with the field and where we’re going…it really spoke to the level of investment and wanting to do it the right way. It was apparent in the students, in the Studio Company, and the Trainees. That level of care was there from the top down. That breeded a very open and warm environment with the dancers. I think Joffrey created an environment where they can be their optimal best.
Talk about your piece Road to Flames.
It’s in three movements. I’m in a transition period in my life. A lot of my works texturally and sensationally go off of my emotions…how they feel physically in your body. How does passion feel? Your temperature rises and you feel hot, so that image of fire came up. Each section goes through a phase of fire. The first section is “Spark.” We played with the texture of combustion like the flicking of a match and then it fizzles out. There’s a lot of accented initiations with smoking or decay after. That section runs up the energy with speed. That goes in contrast to the second section “Ember,” a smoldering flame. The quality being like a candle flame that has this mesmerizing flicker or little dance that it does. The section has more partnering and romance. The last section is called “Wildfire,” It’s kind of crazy. The music is very fast and staccato, chaotic and dynamic. Then there is a pseudo fourth section (no title) that transitions to this airy, elongated sound that goes in and out like how the spark of a flame can grow into a fire and that fire can be destructive and bring chaos, but it can also bring change and rebirth. There’s always this glimmer of hope and change of good that can come out of hardship or drastic changes.
What do you want the audience to take away?
I really want them to feel the sense of energy and urgency that’s built on stage. I don’t want them to feel anxious but pressurized so that at the end they feel a sense of relief. To show that tension can build but you can also breathe. I want the audience at the end to exhale. The dancers are amazing. I’m really proud of the work they put in. I want the audience to see their power.
“I’m trying to show the world we are all human beings, that color is not important, that what is important is the quality of our work, of a culture in which the young are not afraid to take chances and can hold onto their values and self-esteem, especially in the arts and in dance. That’s what it’s all about to me.” ~Alvin Ailey
Alvin Ailey American Dance Theater (AAADT) returned to Chicago’s Landmark Stage at the Auditorium Theatre this week after the pandemic forced a two-year break from touring. Their March 2020 performances were the last big dance show here before everything shut down. In hindsight, it was a blessing to watch Ailey’s trademark Revelations as the last dance viewed and enlightening to see it again now that we are finally, hopefully at the end of Covid-related restrictions. Although everyone was still masked at Ash Wednesday’s opening night, the mood in the audience felt lighter than it has since the last time they were here.
It was also my first time back to the gorgeous Auditorium Theatre, a bittersweet experience since, like myself, many of my former work partners lost their jobs due to the pandemic. A few friendly faces were still there with hugs to say we all made it through in some form or another. Being in the audience to review and not behind the scenes scrambling was an interesting change, one not completely comfortable for me. But…on to the show!
AAADT are performing three programs over their six days in Chicago (through Sunday, March 6). Ailey and Ellington and Rennie Harris’ Lazarus join staple Revelations in the second and third programs respectively. On Wednesday night, they opened with a celebration of Robert Battle’s 10th anniversary as artistic director. Seven of his choreographic works (or excerpts) showed his range, attention to detail, and musicality. Made over a span of decades, Battle has the versatility to move smoothly from slow, ritualistic groups of bodies forming statuesque tableaus (Mass) to intricate, quick and quirky stylized jazz (Ella) to balls-out, fast and frantic (Takademe). The music was a delightful journey of jazz with notes of Nina Simone, Ella Fitzgerald, and early Stevie Wonder. The Battle portion of the program served as an amuse bouche to the main course of Revelations.
This is what we came for and the AAADT dancers did not disappoint. I honestly can’t say how many times I’ve seen Revelations over the years (hint: it is a LOT), but I always find something different and refreshing whether it’s new faces in the familiar opening pose or a favorite, seasoned dancer further growing into the iconic choreography. Standout sections for me are always Didn’t My Lord Deliver Daniel; Fix Me, Jesus; Processional/Honor Honor (with that umbrella!); I Wanna Be Ready (Go Vernard!); and my favorite Sinner Man. Whether loose spacing, opening night nerves, or awkward height challenges in unison dancing, there were brief moments of uncharacteristic flaws that were just as quickly replaced by their beautiful artistry.
Missing on Wednesday was dancer Clifton Brown and the standard curtain call after bows when the company reprises the end of the final section Rocka My Soul in the Bosom of Abraham. That coda with the audience still standing and clapping along is the feel good moment that lingers with you long after the performance is over. I missed it.
There are four performances left in the run. Tickets start at $40 and are available at auditoriumtheatre.org or by calling 312.341.2300.
Episode 18 marks the first episode of Season 2 of the Rogue Ballerina podcast. Who knew? Thanks for sticking with me. Or is you’re new, subscribe and catch up on Season 1. My guest today is Sara Bibik.
Sara Bibik was a founding member of River North Dance Chicago (RNDC) and danced with the company for 10 years.She was named Workshop Director and Artistic Administrator at RNDC, working in that capacity for another 16 years, transitioning seamlessly after retiring from the stage.
Sara is the Dance 360 Program Director at DanceWorks Chicago, producing holistic workshops for aspiring professional dancers. Working to normalize diversity in ballet, she created Skin Tones, a project that provides educational fine art prints and posters featuring dancers of all skin tones performing classical ballet positions. Sara is also the Producer and Owner of JOY: Ballet Coloring Pages celebrating all humanity for young dancers, which is featured on SaraBibikDance.com, the platform to distribute educational and joy-filled activities for dancers and their support teams.
Through her work with RMW&A, Robyn uncovered her fascination with creating shows and happenings in unsuspecting places, public and private, reimagining the identity of the spaces and breathing new wonder into them with live art. She loves the element of surprise and the way the art itself gains new purpose and meaning from the different spaces and people engaging with it. Among her many spellbinding creations is Undercover Episodes, an on-going, site-sensitive performance series. Hailed as a “hidden gem” by the Chicago Tribune, these exclusive, one-of-a-kind experiences can take place as free pop-up performances, private house shows, corporate event highlights and more. Using a keen eye for composition and understanding of her movement, Robyn continues to extend her voice as a director, making and translating work for film and live performance.
Inspired by a lifelong, ever-evolving love of music, film, dance, and pop culture, Robyn is excited to continue working and creating in the many lanes and intersections of art, culture, and performance.
Active in the Chicago dance community, she has served as a Chicago Dancemakers Forum Consortium member, on grant panels, in public forums and is on the board of See Chicago Dance. Cole was on faculty at Columbia College Chicago, where she has served as a Lecturer and Associate Chair and as the Program Manager of the Dance Center Presenting Series. Currently, she is a faculty member in the Dance Department at the Alabama School of Fine Arts. Read her full bio here.
From 2008-2013, she directed Hubbard Street 2 programming and staffing the HSDC summer intensives and curating HSDC’s National Choreographic Competition. During that time, she also oversaw the production of its first full-length children’s program, Harold and the Purple Crayon: A Dance Adventure, which had its premiere at the Kennedy Center to a sold-out house in October of 2010.
Episode 13 features Chicago-based teacher/choreographer Randy Duncan. We discuss the beginning of his dance career, transition into leadership, and natural talent for choreography. Duncan is known for his famously difficult and inspiring finales for Chicago’s Dance For Life finales.
Randy Duncan, a native of Chicago, who began his dance training with Ms. Geraldine Johnson and credits much of his artistic development with Harriet Ross, has the unique privilege to be a three-time recipient of Chicago’s prestigious Ruth Page Award for Outstanding Choreographer of the year. He has received numerous other awards including the Artistic Achievement Award from the Chicago National Association of Dance Masters, three Black Theatre Alliance Awards, and the Gay Chicago Magazine After Dark Award. He earned an American Choreography Award Nomination for his choreography in the blockbuster movie Save the Last Dance starring Julia Stiles.
For the past 28 years he has been on the faculty of the Chicago Academy for the Arts, where he now serves as Dance Department Chair and received the 2019 Faculty Legacy Award. He has been choreographing the finale the Chicago’s annual Dance For Life gala since 1994 and received the 2013 AIDS Foundation Chicago Civic Leadership Award for his work with Dance For Life.