#dancemotionusa

By Cyrinne Douss, DMUSA 6 Follow-On Professional Development Program Participant and Co-Founder of Association Hayyou’Raqs in Tunis

The two weeks in Tunisia with Emily, Kacie, Britney, and Meghan went by quickly.

It was so intense. Throughout their stay with us, we lived a beautiful experience full of emotions.

The arrival of foreign artists in our country, in our daily life and work as dancers, was something extraordinary because it tremendously changed our perceptions and our habits. 

During those two weeks, we faced new works, new minds, new spirits, and new visions of art and choreography. It was amazing to discover, share, and be a part of.

These kinds of meetings and exchanges are precious in so many different ways. We discovered the other as a new possibility of life.  It opened our minds and also made us know ourselves better.

As a Tunisian artist and Co-Founder of the Association Hayyou'Raqs, doing this project with Emily Schoen and her company was a valuable opportunity. It had very positive impacts on the Tunisian audience and the Tunisian community of dancers who would like to have additional artistic meetings of this sort. People enjoyed taking classes with Schoen Movement Company and deeply appreciated the quality of our performance.

On a human and artistic point of view, this meeting was so rich! Of course we would have preferred a longer exchange as we had the desire to further build and develop the things we started. 

However, what we began together still feels like a strong experience, and even if we don't know anything about the future, we feel that we certainly will meet again...

By Emily Schoen, DMUSA 6 KEIGWIN + COMPANY Dancer, and Artistic Director of Schoen Movement Company

As I reflect on my time in Tunisia, I feel both happy and humbled. The connection we made with the Tunisian dancers went way beyond dancing. Not only did we get to work together in the studio, but we got to really know them. After 2 intense weeks together of working and bonding, I consider those 5 people close friends.

What a joy it is to be deeply connected to individuals across the world. It's grounding in a peaceful way and makes the world feel more understandable.

Now, here are a couple highlights from the trip.

The first highlight was my arrival to La Marsa. Britney Kerr and I grabbed lunch and headed to the beach to walk along the water. This area of beach was within view of the hotel where I stayed with KEIGWIN + COMPANY during our DMUSA tour in March. I think I was actually staring out there during breakfast one morning when I first thought about returning someday. To be back on that same spot, 6 months later, with Britney was surreal. Along with a network of support, I had done it.

Highlight #2: The Suitcase Story.

We scheduled the second day of our residency to be a costume fitting. I shopped for, purchased, and brought all of our costumes from New York because I didn't know what I would find in Tunis.

As was our morning routine, the girls and I caught a cab from our Airbnb in La Marsa to Tunis for our workday. I put the suitcase in the trunk. We had some confusion with the driver as to our drop off point—he initially took us to the wrong theater—and then because of traffic, we jumped out early and walked the final 10 minutes to the theater. None of us thought about the suitcase, so off it went with the driver.

It wasn’t until 20 minutes later that I realized my mistake, and the cab was long gone. I had no identifying information about it except a picture I took out the front window during the ride. I assumed the costumes were gone forever. I immediately called the Embassy. They were optimistic, saying that most cases of lost property in Tunisia resolve positively, and that they would set to work on it right away.

Meanwhile, my dancer Houcem wrote down my story in Arabic so I could communicate with the locals. Cyrinne and I went to the circle where the cab dropped us off and told all of the area’s shopkeepers what happened in case the driver came back looking for us. We also talked to the local police.  After doing all we could, we returned to the theater for rehearsal. Cyrinne said of the driver, "I hope he is a good Muslim."

4 hours later, the theater security guard escorted a man into our rehearsal. He was excited and shouting in Arabic. It took us a minute to figure out what was going on, but he turned out to be a subsequent passenger from our same taxi driver. He and the driver were back, and they had our suitcase!

It turned out the U.S. Embassy reached out to its contact in radio—the person who happened to be in charge of the hourly news updates. They put an announcement of 3 Americans and a suitcase left in a trunk, in this update. All the taxis in Tunisia listen to the radio nonstop. Our driver was with a new passenger when he heard it. They pulled over the car, popped open the trunk, and saw our suitcase! Together, the driver and the passenger problem solved where we might be.

"They must be working in a theater because I took them to the wrong one initially..."

"I dropped them off in the neighborhood Halfaouine..."

"There's a theater in Halfaouine..."

It was amazing. Our needle in the haystack came back to us.

The last highlight I'll mention (of many) was the performance at the culmination of our residency. It was exciting to feel the piece come to life under lights and with costumes, to have outside eyes on the piece for the first time, and to know that it was being broadcast internationally.  But the best part was simply performing with the cast. I love those backstage jitters and catching unexpected smiles during the piece. I love the heightened human experience that performance evokes, and being able to share that with people you care about.

Though I can't objectively know how "good" our final piece was (what does that mean anyway?), that notion doesn’t concern me as much as it might normally. I know the piece is honest. It’s a real reflection of our cross-cultural exchange—an experience that was powerful and intimately felt throughout the group. I can think of nothing more inherently artful.

By Cyrinne Douss, DMUSA 6 Follow-On Professional Development Program Participant and Co-Founder of Association Hayyou’Raqs in Tunis

I can't believe we are here! 

Today was our first meeting with Emily Schoen and the Tunisian dancers she chose for her project here with us. We last met in Tunis in March 2017 during KEIGWIN + COMPANY’s DanceMotion USA℠ (DMUSA) residency.  Since then, we put our heads together, each working very hard, to make both of our projects a reality. As the President of the Association Hayyou'Raqs which is dedicated to the promotion and development of the dance sector in Tunisia through our project entitled Tawassel (trainings, workshops, and exchanges with international artists), I am happy to welcome Emily Schoen and her company. They will teach Tunisian dancers during their residency.  In return, Emily strives to collaborate with our association, creating a performance within two weeks with Tunisian dancers for a live Tunisian audience and an online international audience. I am also happy to welcome this project of hers. What a challenge! This meeting will have many benefits for the Tunisian dancers and Tunisian audience involved. Emily and I will be able to accomplish our projects and experience a beautiful exchange thanks to the U.S. Embassy in Tunisia and BAM/DMUSA.

Cyrinne and Emily in Tunis, Tunisia.

Emily teaching a class to local Tunisian dancers as part of Cyrinne’s project.

Cyrinne in rehearsal for a collaborative Tunisian/American dance piece as part of Emily’s project.

By Emily Schoen, DMUSA 6 KEIGWIN + COMPANY Dancer, and Artistic Director of Schoen Movement Company

After spending all summer on administrative preparations for this Tunisia residency, I finally got into the studio yesterday to dive into creative planning. It felt so good! There’s an inherent excitement of creating something new — a blank canvas, open possibilities, change. But this time, the studio has also made the reality of this residency crystallize. It doesn’t just exist in text, paperwork, and on social media anymore. It’s for real!

Emily creating phrase-work in NYC prior to her departure to Tunis

My dancers are just the best. Kacie Boblitt, Britney Kerr, and I have been making work together for more than 4 years now. Any anxieties I had about the actual dance-making aspect of our upcoming collaboration happily dissipated after a few hours with these ladies. Our understanding of each other as people and dancers is so strong that we are ready to be malleable and changed with new information. I cannot wait for us to learn more about the Tunisian dancers and to explore how our different styles may converge. 

Emily post-rehearsal with Schoen Movement Company collaborators Britney Tokumoto and Kacie Boblitt

I’m so thankful for this opportunity. Larry Keigwin and DanceMotion USA℠ have enabled me with an opportunity to connect with the Tunisian dance community. Without them, I may never have even traveled to Tunisia in my life, let alone have been inspired by their dancers. Cyrinne Douss, director of Tawassel, has been a fabulous partner. Without her, it would have been really hard, if not impossible, to navigate the cultural and language barriers of the local logistics.

Schoen Movement Company with Tunisian dancers (Cyrinne Douss pictured center)

It really feels pretty crazy to reflect on the pathway that has brought my dancers and I to this upcoming experience. All the tiny choices along the way. That pulpy mixture of hard work and uncertainty. But alas! Here we are! I am thrilled.

Emily working with dancers in Tunis

Tune in to watch the final product of this cross-cultural collaboration on the DanceMotion USA Livestream channel on Saturday, October 14, 2017 at 2pm EST!

https://livestream.com/dancemotionusa/SMCinTunis 

A sneak peak of some Schoen Movement Company movement:

By Addisu Demissie Kifle, Follow-On Professional Development Program (PDP) Participant

There it began with my reckless attention to small details; I received my travel documents and schedule weeks before my actual travel days.

On the night of the 20th of July, I packed my luggage and left my house for Addis Ababa Bole International Airport. When I got to the check point, I was confused because I couldn’t spot the Emirate Airlines desk which was my first flight to Dubai.  I walked up and down for 15 minutes or more.

I had to ask someone so I went to the assistant who was around; the first thing he asked was to see my flight ticket. He took a moment, nodded his head, and just said, "Sir, you are 12 hours earlier than your flight."

I was speechless....... I felt numb and stupid....... It was way past midnight in Addis Ababa. I was just staring at the assistant, at the same time looking at the ticket, thinking it can't be true or maybe not wanting to accept the truth. 

I had no choice but to go back home and sleep. I was happy that I was going back to a warm bed and out of the rain outside Addis Ababa Bole Airport.

I rested and laughed at my mistakes. I was glad I was earlier; it would had been a disaster if I had been 12 hours late. 

DanceMotion USA℠ (DMUSA) is a project that travels across the world carrying the American flag, which had different stops in different continents sharing and exploring different cultures through dance. It is the reason all of us, artists and creators, met in Brooklyn, New York.

DMUSA PDP participants onstage at BAM Harvey Theater

The seminars and dance workshops started on Monday, July 24, 2017. I did not have any expectations of what the week would look like and who I would be meeting. It's true; I was even given a schedule, names, and biographies about the participants and leaders who conducted the workshops.

Five international participants and five local artists took part in DanceMotion USA’s Professional Development Program (PDP), all with very different backgrounds and visions for our work. But among us there was profound similarity; we were an assembly of artists seeking changes in our careers with some on the process of transformation to the next level of our professional disciplines and journeys.

The entire first day was shocking and vibrant for many of us, especially the afternoon session. It felt like poking the wound for many of us! The week was designed with different activities and discussions around our professional practices. Throughout the week during the morning we explored different physical engagements with different choreographers: Larry Keigwin, John Heginbotham, and Reggie Wilson. These are experts who have developed very distinct approaches to dance and ways of moving. It was very clear to see and discover the dissimilar ideologies between each teacher, which I thought was one other perspective in America. The international artists, including myself, had a chance to share our traditional dance practices, which was the most fun and helpful way for us to understand and know a bit more about each other. By simply sharing our traditions, we could experience the journey that program has taken.

Addisu with Artistic Director Reggie Wilson of Reggie Wilson/Fist & Heel Performance Group (Photo by Sarah Horne)

Addisu teaching traditional Ethiopian dance to his fellow PDP participants (Photo by Meghan Rose Murphy)

International Artist Workshop - Traditional Dominican Dance (Photo by Meghan Rose Murphy)

I personally found the afternoon sessions essential. Every day I was filled with a lot of information, some of which I had been searching for and some things that were missed in my entire practice. The seminar was hosted by Capital Creative members, Colleen Keegan, Ela Troyano, Matthew Deleget, Brian Tate, Alyson Pou, Eve Mosher, and James Scruggs. They spoke to us about strategic planning, marketing, and communication plans. It was an overwhelming exercise for many as it clearly showed how bad artists can be at communicating, and how much we undermine our practices and all the value we contribute.

Having small discussions with the participants during break and lunchtime, I was surprised that these types of courses are not given during dance training at academy level. At the end of the day, what is the point in creating something if we don't know how to bring audiences for our works? Or how am I going to develop my ideas if I don't know the ways to make it possible?

Generally, the week has been a massive heads up about ourselves and reminded us to believe in how important the work we do individually is in our society.  I wish we had more time to get to know each other. It was short and packed with so many inspiring people and stories. Some of us have shown an interest in collaborating together in the future, which is one of the wonderful outcomes we get by having participated in such a program.

Addisu Demissie Kifle during the international artist workshop (Photo by Meghan Rose Murphy)

I’m going to try this again, since my last post failed…we are about to leave Spain, which was added to our tour when Tunisia was cancelled because of its political situation.

While I can hardly compare it to North Africa, the need to share dance and the ability to make an exchange with the students here still rings true. Our time in Sevilla brought us to a center where we taught a group with Down’s syndrome - they were amazing! Open and creative and free, they completely changed our expectations. And the high school we visited brought to both sides a new experience. One of the hardest days was when a group if us went to a school here in Valencia where we were told the students were mostly of Roma descent. The kids were rowdy and restless and it was not an easy workshop.

But before we finished, we showed them a bit of what we do, and the payoff came when they shared their talents. Two young brothers (I think) were drumming and singing and girls were dancing, and they became their own cultural ambassadors for a moment. Not to be forgotten.

A great bonus for us was to work with the local company at the Ciudad de Las Artes, the monster of a theater building here in the city. We taught a workshop for them, sharing repertoire and dancing alongside them. The exchange continued when they came to our performance the next night, and then again as we spent the following day in their studios. This allowed us to see and experience the dance culture in another country.

So today we head to Algeria, where the experience will be different yet again, I imagine. The students in our workshops in Algeria have been selected to participate, whereas they have all been open and voluntary thus far in Spain and Morocco - looking forward to discovering why, and how this will go. The long sleeves and scarves will come out again, and our activities will be chaperoned, guiding us through this last part of our adventure with DanceMotion USA.

Can’t wait!