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PODCAST 159: Susan Klein

Release Date: 6.19.23

TO DOWNLOAD PODCAST OR LISTEN:

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Creating a Technique that Honors the Individual with Susan Klein

Episode 159: Show Notes

Today’s guest Susan Klein is a true luminary, having shaped the modern dance landscape with her groundbreaking theories as creator of the renowned Klein Technique. In this episode, we explore her transformative journey as a movement pioneer, uncovering her dance background, the hurdles she overcame following a series of debilitating knee injuries, and her return to the world of movement. We discover how her experience ignited her passion for understanding the body and teaching others about movement, and how this ultimately led to the development of the Klein Technique. Susan recounts the pivotal moment she realized the limitations of imitation-based teaching and explains why she believes in nurturing individuality within dance. She opens up about her quest to safeguard her unique contributions, and why she decided to concede, despite her concern about the potential harm of her work being taught incorrectly. Join us as Susan shares her unique journey to quietly becoming one of the most valuable and influential players in the modern dance field.

Key Points From This Episode:

• • Introducing Susan Klein, an “unsung hero of modern dance” and creator of Klein Technique.
  • Susan’s dance background and training.
  • Why she believes teaching through imitation to be ineffective.
  • Her influences and how they shaped her journey.
  • The series of knee injuries that temporarily derailed her dancing career and her return to dance, post-injury.
  • How Susan’s experience ultimately led to the development of the Klein Technique.
  • The importance of individuality in dance and Susan’s continued fascination with movement and teaching.
  • Susan mentions notable dancers she taught.
  • What drew people to her work in the modern dance field.
  • The various methods she attempted to protect her work from being copied.
  • Why she finds the widespread adoption of her work both gratifying and concerning.
  • Her journey of developing a technique class based on Laban’s principles.
  • Challenges she’s faced in her dancing career and the various career paths she’s explored.
  • Susan teases her plan to share her knowledge in book form.

“When I work with people, that’s always exciting because their potential and what’s going on in their lives or in their body is infinitely interesting.” — Susan Klein

Susan Klein is founder and director of the Susan Klein School of Movement and Dance.  She has been developing Klein Technique™ since 1972, teaching dancers to use their bodies correctly thus decreasing their possibility of injury and increasing their capacity and longevity as dancers. Her work has been most influenced by Barbara Vedder, D.C., Irmgard Bartenieff, Bonnie Bainbridge Cohen, Fritz Smith, M.D., and J.R. Worsley, D.Ac. Susan started dancing at 5 years old and by 19 years old was seriously injured. Klein Technique™ is a result of her personal journey to get well, and serves as a way for people to work through individual injuries, to understand the workings of their bodies, and to heal themselves. Susan has a private practice as a Movement Therapist, Certified Zero Balancer, Senior Zero Balancing Teacher, and Traditional Acupuncturist, L. Ac., M.Ac., B. Ac. (UK), Dipl. Ac. (NCCAOM).

Connect: KleinTechnique

Links Mentioned in Today’s Episode:

PODCAST 158: Hope Mohr

Release Date: 6.5.23

TO DOWNLOAD PODCAST OR LISTEN:

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Activism, Dance, and Co-Leadership with Hope Mohr

Episode 158: Show Notes.

Dance, movement, performance, and art-making can play many roles in one’s life. And how they are expressed can change shape over the course of a career. Our guest today, Hope Mohr, has woven together a life of art and activism as a choreographer, curator, and advocate. She has had a fascinating career journey, dedicating herself to both dance and activism and finding new and innovative ways to integrate the two. We talk with Hope about the inexorable pull that dance has exerted on her throughout her life and how her feminist awakening in college inspired her activism. She tells us about the leave of absence she took from studying law (on more than one occasion) to pursue unmissable dance opportunities with legends like Lucinda Childs and Trisha Brown, and shares how she finally completed her law degree before founding a presenting platform called The Bridge Project. Hope goes on to describe the project’s transition to co-ownership, changing their name to Bridge Live Arts, why she chose to leave after 15 years, and what it’s been like returning to work as an independent artist after so many collaborative projects. Our conversation today covers urgent and meaningful topics, from dismantling existing power structures and redistributing power within dance to returning to yourself and learning how to listen to your inner voice as an artist. To learn more about Hope’s fascinating journey and bigger questions about dance and power, be sure to tune in today!

Key Points From This Episode:

• Hope’s upbringing in San Francisco and her early love of dance and ballet.
• An overview of the dance projects, companies, and training that Hope has been a part of.
• The leave of absence that Hope took from law school to pursue dance opportunities (on more than one occasion).
• Hope’s dedication to dance and activism throughout her career.
• Learn about The Bridge Project, a presenting platform Hope started in 2010.
• How the project transitioned to a model of co-leadership and was renamed Bridge Live Arts.
• Hope’s decision to take the bar exam (and pass it) just before the onset of the COVID-19 pandemic.
• Why Hope has continually found herself returning to dance throughout her life.
• Her feminist awakening and how it led to her activism and work as a lawyer.
• Reflections on the cycles of burnout Hope has experienced and what keeps her going.
• How Hope moved back to the Bay area and started her own studio.
• The focus of Hope’s work as a choreographer: motherhood and navigating the world as someone who identifies as female.
• An overview of the curation and collaborative work Hope has done for Bridge Live Arts.
• What informed Hope’s decision to move away from Bridge Live Arts; tending to herself as an artist and making space for a more equitable distribution of power.
• Locating these changes in the bigger, national conversation around a redistribution of power, race, equity, and co-leadership in dance.
• The need for grants and other means of support to fund a transition to co-leadership.
• Hope’s return to being an independent artist and her latest new work.
• The most significant challenges Hope has faced in her career, along with her biggest highlights.

“I think I’ve always had a very hungry mind and a real passion for social justice work. So that has been a throughline. But dancing has always been my first love. So yeah, it’s been a real calling for me. It still is.” — Hope Mohr

Hope Mohr (she/her) is an artist and advocate.

As a choreographer, Mohr makes work that “conveys emotional and socio-political contents that ride just underneath the surface of a rigorous vocabulary.” (Dance View Times). Her performance work has been presented by Movement Research at Judson Church (NYC), 18th Street Arts Center (LA), Highways Performance Space (LA), Johns Hopkins University (Baltimore), di Rosa Center for Contemporary Art (Sonoma), Moody Center for the Arts (Houston), and in the Bay Area at SFMOMA, ODC Theater, Counterpulse, ICA San Francisco, 836M Gallery, and Yerba Buena Center for the Arts.

As a dancer, Mohr trained at S.F. Ballet School and on scholarship at the Merce Cunningham and Trisha Brown Studios in New York City. She performed in the companies of dance pioneers Lucinda Childs and Trisha Brown. While dancing in New York, Mohr also freelanced with Liz Gerring, Douglas Dunn, Trajal Herrell, and Pat Catterson.

In 2007, she founded Hope Mohr Dance (HMD). In 2010, she founded HMD’s presenting program, The Bridge Project. In 2020, she co-stewarded the organization’s transition to a model of distributed leadership. In 2022, the organization changed its name to Bridge Live Arts and its mission to creating and supporting equity-driven live art that centers artists as agents of change. In 2023, Hope transitioned out of Co-Directorship and into Affiliated Artist status with Bridge Live Arts. She now works as an independent artist fiscally sponsored by Fractured Atlas.

Hope teaches contemporary dance technique, creative movement, movement for actors, and cross-disciplinary practice that puts dance in dialogue with visual art. She has taught at PARTS (Brussels), the Trisha Brown Studio (NYC), 18th Street Arts Center (LA), and in the Bay Area at Stanford University, American Conservatory Theater, Shawl-Anderson, ODC, and the Lines Ballet/Dominican B.F.A. program.

Links Mentioned in Today’s Episode:

Hope Mohr

The Bridge Project

Bridge Live Arts

Shifting Cultural Power: Case Studies and Questions in Performance

San Francisco Ballet

Merce Cunningham Trust

Lucinda Childs

Liz Gerring Dance Company

Pat Catterson

Douglas Dunn + Dancers

Movement Law

Trisha Brown

Trisha Brown Dance Company

Margaret Jenkins Dance Company

Cherie Hill on Instagram

Karla Quintero on Twitter

Rebecca Fitton on Instagram

Anne Carson

Antigonick

extreme lyric I

Bacchae Before

Leaving the Atocha Station

Horizon Stanzas

Have We Come a Long Way Baby?

Locus Poem

Bay Area Artists In Conversation with Merce Cunningham at 100

What does it mean to have a radical body?

Dancing Around Race: Interrogating Whiteness in Dance

Community Engagement Residency

PODCAST 157: Rosalynde LeBlanc

Release Date: 5.21.23

Rosalynde LeBlanc, Co-Director/Producer, Can You Bring It: Bill T. Jones and D-Man in the Waters. Photo Credit: Eric Politzer

TO DOWNLOAD PODCAST OR LISTEN:

• • Apple Music: Subscribe, Listen, Rate Us HERE

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Building a Dancer with Rosalynde LeBlanc

Episode 157: Show Notes.

Rosalynde LeBlanc built her career dancing for some of the biggest names in dance. Today, she is Professor and Chair of Dance at Loyola Marymount University. Social justice awareness has always underpinned her work as a choreographer, which is why she creates pieces that are related to the world and not the mirror. During today’s conversation, she shares her perspective on what it truly means to build a dancer beyond just the physical. Tune in to hear the highlights of her incredible journey as the daughter of an accomplished dancer with Paul Taylor, applying to college early and completing her high school diploma alongside her studies, and her time dancing with Bill T. Jones that skyrocketed her career. She shares the story of being invited to dance with Baryshnikov, before burning out just three years later. Rosalynde offers her insights on doing the necessary inner work to succeed as a dancer before telling listeners all about her transition into the world of education. Tune in today to hear all this and more!

Key Points From This Episode:

• Rosalynde LeBlanc’s first experiences with dance and when she really fell in love with it.
• Her mom’s hands-off approach to managing her relationship with dance.
• Why she declined an invitation to dance with Paul Taylor.
• Her memory of Alvin Ailey’s death and the first World AIDS Day in 1989.
• Applying to college early and completing her high school diploma alongside her studies.
• Her experience at Purchase and the social change that occurred while she was there.
• The Bill T. Jones workshop she attended summer of ’92.
• Apprenticing for Bill T. Jones.
• The duet she performed with Bill T. Jones which launched her career.
• Her father’s work in cinema and the relationships she formed with Black Hollywood.
• What it was like to dance for Bill T. Jones at the age of 19.
• Her experience of being in the work and touring with Still/Here.
• The fraught process of leaving Bill T. Jones.
• Being invited to dance with Baryshnikov.
• The mind-body connection and how it relates to becoming dancer.
• Burning out at White Oak Dance Project after three years.
• Her transition into education.
• The sanctuary of the studio.
• What she loves most about performing.
• The piece she is working on at the moment; Tomboy.
• The less talked about shadow of success.

“The other 50% of being a dancer is your psychological state of being and that shapes your body as much as all the other technique classes. So you have to deal with that.” — Rosalynde LeBlanc

Rosalynde LeBlanc danced with the Bill T. Jones/Arnie Zane Company (1993 – 1999), and Mikhail Baryshnikov’s White Oak Dance Project (1999 – 2002). She has also worked onscreen with film directors Burt Barr, John Turturro, Gretchen Bender and Matthew Rolston. She can be seen in the short film, Roz, the PBS Specials, Still/Here, Free to Dance, Dancing in the Light, A Good Man and in the feature film, Romance and Cigarettes. LeBlanc is a leading figure in the legacy and pedagogy of Bill T. Jones. She re-stages his work around the country and runs the Jones/Zane Educational Partnership at Loyola Marymount University, where she is an associate professor in the dance department. In 2020, her work in dance research and pedagogy was recognized with an honorary induction into the Jesuit Honor Society, Alpha Sigma Nu.

Can You Bring It: Bill T. Jones and D-Man in the Waters  is now streaming for free as part of AfroPoP: The Ultimate Cultural Exchange. Audiences can visit worldchannel.org, blackpublicmedia.org, Black Public Media’s YouTube Channel, and WORLD’s YouTube channel.

PODCAST 156: Remembering Agnes De Mille with Elizabeth Ferrell and Jenna Rae Herrera

Beth Ferrell in Rodeo

Release Date: 5.8.23

TO DOWNLOAD PODCAST OR LISTEN:

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Remembering Agnes De Mille with Elizabeth Ferrell and Jenna Rae Herrera

Episode 156: Show Notes.

Today’s episode is a special one, where we look back and remember world-renowned dancer, choreographer, writer, lecturer, and director, Agnes De Mille. Agnes had a successful, yet tempestuous, career that spanned almost 70 years through the world of 20th-century American theater and ballet. We take a look at her through the eyes of Elizabeth Ferrell, formerly a member of the American Ballet Theater, and Jenna Rae Herrera, a principal artist with Ballet West. We hear their recollections of working with De Mille in the studio and performing her work, and we listen to their insights about how the course of American dance was forever changed by her. Stay tuned for a lively conversation about Agnes De Mille and her long-lasting impact; creating strong-willed American female roles. Enjoy!

Key Points From This Episode:

• Beth shares a short (but detailed) biography of Agnes De Mille; Agnes in a nutshell.
• More about Beth, her background, and how she became part of De Mille’s work.
• Beth tells listeners about De Mille’s personality (both in the studio and on stage).
• Jenna talks about her background in dance and career at Ballet West.
• Jenna tells us about learning her role in Rodeo and how it helped her grow as an artist.
• The process of learning the Rodeo material (and hearing the narrative from Agnes herself).
• Jenna shares her experience learning work that was made decades ago (and translating it to her body and the company).
• We hear Beth’s experience doing De Mille’s work, both the physical experience and the learning process.
• Jenna and Beth reminisce about their time performing The Cow Girl in the Rodeo
• Why Rodeo was set on ballet companies (as opposed to other genres of dance).
• Their thoughts on why De Mille’s work has become timeless and why it’s still being performed today.

“She was really ahead of her time, there’s still a real push to nurture and push female choreographers and women’s voices [today] — and here she is in the 1940s choosing her own music, dancers, costumes, set designs, and was calling the shots.” — Elizabeth Ferrell

Elizabeth Ferrell was born in St. Louis, Missouri and began her early training with Alexandra Zaharias.  At age 14, she was awarded a Ford Foundation Scholarship to study at the School of American Ballet and upon graduation was chosen by Peter Martins to receive the Danish American National Cultures Exchange scholarship to study with the Royal Danish Ballet.  In 1985, Elizabeth was invited by Mikhail Baryshnikov to become a member of American Ballet Theatre where she danced from 1985 to 1998.  During that time she appeared in much of the classical and contemporary repertory and worked with such esteemed choreographers as Sir Kenneth MacMillan, Paul Taylor, Martha Graham, Merce Cunningham, Anthony Tudor, Lar Lubovitch, Glen Tetley, Mark Morris, Ben Stevenson, Natalia Makarova, Kevin McKenzie, Clark Tippet, Ronald Hynd, Twyla Tharp and Agnes de Mille.  She has also performed with the Pennsylvania Ballet, Eglevsky Ballet, New York City Opera, Alessandra Ferri’s “Stars of the American Ballet”, Papermill Playhouse, Muny Opera, Goodspeed Opera, and most recently Hong Kong Ballet.  She can be seen in five “Dance in America” broadcasts for PBS and appeared in Herbert Ross‘ movie “Dancers” and Frederick Wiseman’s documentary “Ballet.”  Elizabeth took part in the inaugural teacher training program of ABT’s National Training Curriculum and is now an ABT certified instructor.  She has taught at such institutions as Ballet Hispanico in New York, Danceworks in London, and the Hong Kong Academy of Performing Arts, as well as guest taught at ballet schools in the U.S., London and Hong Kong.  She is currently on the faculty of the American Ballet Theatre Jacqueline Kennedy Onassis School.

In addition, Beth has danced the following roles in Agnes de Mille works:

DeMille workshop- 1998: Allegro, A Rose For Miss Emily

With American Ballet Theatre: The Informer– 1988 original cast- was in corps and the female lead- The Girl, Rodeo– 1989 ABT revival- was an Eastern Friend and the Cowgirl, 3 Virgins and a Devil– 1993 ABT revival- The Fanatical One, The Other– 1992- the corps, Fall River Legend– the corps

Musical Theater- Brigadoon– 1996 revival NY City Opera- Jean Maclaren

Jenna Rae Herrera in Rodeo (photo Beau Pearson)

Jenna Rae Herrera is from Ontario, California.  She joined Ballet West II in 2007 and the main company in 2010.  Jenna was promoted to Demi-Soloist in 2015, to Soloist in 2016, to First Soloist in 2020, and to Principal in 2021.  She trained under Cynthia Young, Laurence Blake, and Randall Graham.  Jenna’s favorite leading roles she’s danced with Ballet West include Balanchine’s Rubies, Forsythe’s In the Middle, Somewhat Elevated, Olga in Cranko’s Onegin, and Juliet in Smuin’s Romeo + Juliet.  Jenna is also on faculty with the Ballet West Academy and has taught at the Ballet West Academy Summer Intensive, as well as at the Brigham Young University Advanced Ballet Intensive.  She is currently enrolled at the University of Utah with the hopes of obtaining a bachelor’s in the Fine Arts.

Links Mentioned in Today’s Episode:

Jenna Rae Herrera

Jenna Rae Herrera on Instagram

Elizabeth Ferrell

Elizabeth Ferrell on Instagram

Agnes De Mille

Agnes De Mille Books

Dance to the Piper

MOVERS & SHAPERS:

PODCAST No.155 – Remembering Jennifer Muller (1944-2023)

Release Date: 4.24.23

Original Release Date: 9.5.19

TO DOWNLOAD PODCAST OR LISTEN:

• • Apple Music: Subscribe, Listen, Rate Us HERE

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ABOUT JENNIFER MULLER

JENNIFER MULLER (JMTW Artistic Director and Founder) has been an influence in the dance world for over 50 years, is known for her visionary approach and innovations in dance/theater, multi-discipline productions incorporating the spoken word, live and commissioned music, media, artist-inspired decor and unusual production elements. Muller has created over 118 pieces, including seven full evening productions, collaborating with such artists as Keith Haring, Keith Jarrett, Yoko Ono and Jeff Croiter. Muller is recognized as a “seminal influence on dance/theater.” Her prolific career has led to recent honors: Fortaleza’s 2010 Trophy of Cultural Responsibility and a 2011 American Masterpieces: Artistic Genius Grant, UCSB conference and exhibit and the publication Transformation & Continuance: Jennifer Muller and the Reshaping of American Modern Dance, 1959 to Present. An internationally renowned teacher and mentor of creative talent, Muller has developed a personalized technique informed by Eastern philosophy. TanzPlan Berlin chose Muller Polarity Technique as one of seven unique contemporary dance techniques for its publication/ DVD Tanztechnik 2010. Creating and re-staging pieces for 26 international repertory companies in nine countries, her commissions include Alvin Ailey American Dance Theater, Tanz-Forum Köln, Lyon Opera Ballet, Bat Dor, Ballet Jazz de Montreal, Ballet Contemporaneo, Nederlands Dans Theater, NDT3 and Introdans in The Netherlands. An award-winning choreographer, Muller’s choreography for theater/opera productions include The Public Theater, 2nd Stage Theater, NY Stage & Film, and the New York City Opera. In 2011, she choreographed the new musical The Spiral Show in China. Muller is currently re-staging her 2015 piece Miserere Nobis on both Introdans in The Netherlands and UC/Santa Barbara, both to be premiered in early 2020. Her most recent work The Theory of Color, which premiered at New York Live Arts this past June, received overwhelming acclaim: “a dynamic, riveting work.” 

Above all, dance has been Ms. Muller’s passion and creative voice since she was a child. Creating pieces since age seven, she danced professionally at age 15 with the Pearl Lang Dance Company followed by nine years as Principal Dancer with the José Limon Company [while graduating from the Juilliard School] and seven years as Associate Artistic Director of the Louis Falco Dance Company. Now, as a result of years of productive creativity, her work has been seen on stage and television in 45 countries.