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Malashock Blog Series: Behind The Curtain - RAW vol.7

Friday, January 20th, 2012 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

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Malashock Company dancer and Malashock/RAW2: STRIPPED performer Blythe Barton talks to us about everything dance -

How long have you been with Malashock Dance?

I was first introduced to Malashock Dance in the 2008 Summer Workshop. Starting 2009, I apprenticed for one year before joining the company in the Summer of 2010.

What was name of your first dance concert with Malashock Dance?

My first concert with Malashock Dance was ‘Surface Tension’ in the fall of 2009 in Michael Mizerany’s Dance, “Wayard Glances”. “Tethered” was created for this concert. Right from the start, I was pushed as a physical dancer, emotional performer, and technical acrobat.

Do you have any favorite MD roles or pieces?

I loved some of the sections from ‘Shadow of Mercy’. I really enjoy character roles and the music of Leonard Cohen has amazing depth and inspiration for dance.

You are in 2 of the 3 pieces in Malashock/RAW2: Stripped. Do you have to do any amount of cross-training or additional training besides company class and rehearsal?

I take class with several dance teachers in addition to Malashock’s company class. I also rehearse and teach with other dance companies. All in all, I spend about 8 hours each day, moving around in a studio.

In Piece of Work, you portray a very sympathetic, yet unstable, character. What, if any, research did you do with regard to preparing for the role?

I have a very close family friend with schizophrenia and am intrigued by his unusual mental capacity and the difficulty that he has focusing on a single train of thought. Along these lines, I researched several videos of similar conditions where actions and reactions come and go quickly. With John Malashock’s direction, I was able to hone into this instability and unexpected nature of the choreography. John talked a lot about a bird-like quality of movement, to keep movements impulsive and unpredictable.

You were asked to sing, albeit badly, for your solo in Piece of Work. Did you feel self-conscious or uncomfortable?

Long ago, I came to accept that my level of vocal talent is zero to none. The character nature of this dance freed me of my tendency to be self-conscious about my singing. I could simply vocalize as the character and not as Blythe. When John first brought up the idea of singing, I made sure that “sounding good” was not part of his artistic vision.

You were also the costume designer for Piece of Work. Is costume design something you have interest in or was this a one time only event?

I have done quite a bit of costume design for my own choreography and enjoy the challenge of find items that fit with the intention of the dance and are suitable for the range of movement in the choreography. I was excited to take on the task of costuming ‘Piece of Work’, to make the characters distinct, yet relatable. The somber and neutral palate allows audience members to paint and project their own experiences.

Lastly, if you could describe Malashock/RAW2 for someone who has never seen Malashock Dance (or modern dance), what would you say?

Malashock/RAW2 is a diverse collection of movement ranging from staccato and sculptural, to fluid and sensual, to athletic and lithe. This concert pushes the boundaries of one’s capacity for technical dancing, yet at the same time presents very real and personable characters. To audience member: Come with an open mind, an open heart, and open eyes - don’t blink you might miss something.

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Malashock Blog Series: Behind The Curtain - RAW vol.6

Wednesday, January 11th, 2012 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.


 Malashock Company dancer and Malashock/RAW2: STRIPPED performer Christine Marshall answers a few of our questions -

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Dancer Profile: Christine Marshall

We sat down with Malashock Dance Company Member Christine Marshall to talk candidly about appearing in every section of Malashock/RAW2: STRIPPED and more.


How long have you been with Malashock Dance?

I began working with Malashock Dance in early 2007.


What were some of the first things you did with Malashock Dance?

My first dance concert with the company was Let’s Duet (2007), held at Qualcomm Hall. Prior to that were the On the Spot studio developments of Stay the Hand (2008), and a few non-concert projects.


What are your favorite Malashock Dance roles or pieces?

Silver and Gold (2007), a piece John Malashock choreographed on Michael Mizerany and I, remains my favorite to date. Subtle story telling, poignant music, and the elated feeling after nailing such precarious lifts are all very memorable.


You’re in every piece of Malashock/RAW2: Stripped .  Did you have to do any additional training, besides company class and rehearsal, to prepare for the roles?

Company classes and full days of rehearsals provide great training in and of themselves. After much repetition, the body becomes pretty capable of performing what is required of it. Apart from dance, I keep a daily practice of meditation and qigong. These types of exercises soften muscles, strengthen joints, and calm the mind. While it’s not specifically dance training, it is still very useful and a nice balance to my regime.


In Harem , you worked with guest artists Henry Torres and Angel Arambula of LUX BOREAL.  How was that process?

I loved working with Henry and Angel, their style, vocabulary, the movement in Harem —sequential, stemming from the floor, the gut, wherever, and moving through the body as circles or waves. They stressed organic movement, especially while partnering, where lifts emerge through sharing and leveraging one another’s weight. Nicholas Strasburg and I worked much to get accustomed to this approach to partnering. It’s more natural and easy enough for Nicholas to press or throw me above his head without sharing and leveraging, which is an ability that John (Malashock) and Michael (Mizerany) like to use to their choreographic advantage.

Henry and Angel were also extremely easy to work with as both have such gentle, straightforward personalities. Oh, and the opportunity to increase my little Spanish vocabulary (Angel instructed in Spanish) - that was icing on the cake!


In Harem, you had to perform with props (plums and watermelons).  What challenges did this present?

Ah yes, the fruit. To our luck, the plums were introduced into early rehearsals so we could get a hold (literally) on securing them between our knees, with our chin, and balancing them on our heads. There were also one or two occasions of condensation on a refrigerated watermelon that threatened our grips.

The largest fruit challenge, so I was told, was eating. In the dance, I tempt Nicholas with a plum as the other girls are eating their plum. The girls were challenged to eat them (at times unripe and sour), to the seed, within a short amount of time. The watermelon, however, was always welcomed refreshment.


At the end of Harem , all the women take a more aggressive stance against Nick’s somewhat misogynistic character.  Have you had to cope with this sort of viewpoint in real life?

Thinking about experiences with machismo or male chauvinism, I’m reminded of my life while residing in New York City. Typical NYC people keep to themselves when out and about in the city, but every now and then, some man will project his hoots, hollers, or catcalls at an unaccompanied girl. Whether recipient or witness, I always felt that sort of behavior was proclamation of (a wanted) power over her, which I found dull and aggravating.


Lastly, if you could describe Malashock/RAW2 for someone who has never seen Malashock Dance (or modern dance), what would you say?

Malashock/RAW2 presents three viewpoints on dance, just dance, no major storytelling, no elaborate costumes, no complex lighting. Dance is presented literally "raw". The movement is gritty, at times intense, but always honest.

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Malashock Blog Series: Behind The Curtain - RAW vol.5

Thursday, January 5th, 2012 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.


Malashock/RAW2: STRIPPED dancer/Malashock Dance Company member Nick Strasburg talks DANCE -

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Dancer Profile: Nicholas Strasburg

We sat down with Malashock Dance Company Member Nicholas Strasburg to talk candidly about the physically and emotionally challenging role he performs in Michael Mizerany’s “Desperate Love” from Malashock/RAW2: STRIPPED.

How long have you been with Malashock Dance?

I have been dancing with Malashock Dance since the Fall of 2008.


Do you remember some of the first things you did with Malashock Dance?

I believe my first concert was “Let’s Duet” and we performed “Spinning Away” and “Un-Nintendo-ed Outcome”…Unless you count the summer workshop, in which case it was Michael Mizerany’s “Feral .”


You are in every piece in Malashock/RAW2: Stripped.  Do you have to do any amount of cross-training or additional training besides company class and rehearsal to stay sharp?

I don’t know if I have to, but I go to the gym every weekday and attend company class twice a week.


Desperate Love examines the things we compromise for love (or the idea of love).  What compromise(s) does your character make for what he thinks is love?

I believe that my character sacrifices his modesty, or a representation of his own morals, in an attempt to attract others.  The obvious representation is that my character shows off his body for hopes of attraction, but with a deeper meaning, I feel he is giving up things he doesn’t want to in hopes of being loved.

In Desperate Love, you portray a sympathetic, yet flawed, individual.  He goes through some very dark changes.  What challenges did you find in playing such a role?

My personal life was going through a similar situation in which I was feeling unwanted by someone I loved.  At times, I felt that I was also compromising myself in order to stay with them.  So, my biggest challenge was to not take my role too personally and remember that I am portraying a character and not myself.

(Malashock Company dancer) Christine Marshall gets quite violent with you during your duet in “Desperate Love.”  It looks brutal. But was it fun to do?

Yes!  That duet is one of the most energetic and fun duets I have performed.  It looks as though she is beating the crap out of me, but really I am beating the crap out of myself.  It was a fun challenge to make something look worse than it was, and I want to assure others that I am not injuring myself…too much.

At the end of Desperate Love, you spend the last part of the piece in a dance belt.  Was the nudity a problem for you?

The nudity was not an issue.  I am very comfortable in my skin and feel that the art form of dance is used with the palate and canvas of the body. I prefer the audience to see the body in its fullest.

Lastly, if you could describe Malashock/RAW2 for someone who has never seen Malashock Dance (or modern dance), what would you say?

Malashock/RAW2 is a show about people.  It’s a show about issues people have, and the issues they contain.  It may be as benign as people passing and as complex as people in a three way relationship.  But it’s a show that brings to life the dance and movement that accompanies the themes of these relationships.  It’s not a direct interpretation of anything specific, so it gives you the opportunity to take away from it, what you need to.  Malashock/RAW2 does not spoon feed you, nor does it shove the meaning down your throat. Rather, it gives you the option to taste and take what you want/need.

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Malashock Blog Series: Behind The Curtain - RAW vol.4

Thursday, October 13th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.


Malashock/RAW 2 dancer MARIA JUAN  talks LUX BOREAL -

It has been a pleasure and honor to have been chosen to work with Angel Arambula and Henry Torres of the Tijuana, Mexico company Lux Boreal . Only once before had I seen a performance and taken one workshop class with them, but was quickly an admirer of their work. The ease and fluidity in their movements coupled with theatrical elements made me believe that I would be right at home working with them.

Beginning the rehearsal process, I relished in the movement phrases that were instructed to us. Their technique was one that I was familiar with and studied previously, which increased my initial comfort level. Their technical style is a combination of athleticism and sequential movement, with components of performance art intermixed to complete the Lux Boreal characteristic. This type of movement is what I have been vying for since I moved to San Diego two years ago. Yet, as rehearsals continued during the course of two weeks, I realized I was facing one of the biggest challenges I would have in my professional performing career.

During rehearsal, we ran a small section of the piece. Afterwards, the choreographers asked us what we were thinking of while we were dancing.

Silence…

While I thought I was "performing" the phrase they had just requested, they told us they wanted more. I realized at that moment that I was just dancing and not actually interpreting these movements internally. They then asked us to try looking at each other during the section; to make it more "human".  Such a simple statement, but it held such powerful meaning.

So many times we as dancers, execute phrases, slap a "modern dance stare" on our face, and get through the following fifteen minutes without ever realizing what we are performing. But as Angel and Henry said one day during the creative process, we need to "move", and not just dance. We are storytellers; utilize the technique as a tool not as the basis for what the piece is about.

So, as I continue to rehearse for Malashock/Raw 2, I am preparing myself a little differently than I have for prior performances. My goal is to find myself in the piece, as opposed to presenting the dancer I am trained to be. My second biggest challenge? Figuring out how to eat a plum in less than thirty seconds…yeah, you’ll see what I mean.

Maria

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Malashock Blog Series: Behind The Curtain - RAW vol.3

Monday, September 12th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

Malashock/RAW 2 dancer VIVIANA ALCAZAR  talks rehearsal thus far-

I was extremely excited to find out that I was going to be a part of Malashock/RAW 2! And to be given the chance to work with John and his talented company was, and continues to be, a great privilege.

Our first day began with work on a trio between Blythe Barton, Courtney Meadows, and myself.  We learned two precise, syncopated combinations, which have been quite the challenge for me, as learning John’s quirky movement and unique shifts of weight differ from the way my body usually chooses to move.  But, I love the challenge of getting into the studio and seeing what the demands/style of a new choreographer will be, and how I can adapt to his work.

Another challenge for me has been timing and accents—something I used to think was a strong skill learned back in my old hip-hop days;  something I thought I had in the bag.  Yet, I soon discovered my sense of timing and accent was uniquely different from John’s, making the rehearsal process a new challenge in training my body as a dancer.

With that in mind, I was excited to finish the trio by Thursday,  so that I could quickly get to working out the details and begin the character process.  Our trio has a dark/evil sinister feel.  Blythe and I have enjoyed pulling out our devilish side for this role as a dark, evil character who can control Courtney with our strong movements, energy, and of course, evil eyes.  The challenge has been balancing the character work with the physical specificity that has characterized John’s choreographic intent for this process.

After working on the trio, we began working as a whole for the group section.  This was a seriously awesome process.  John walks into the studio and is immediately “ in the zone.”  He looks at us and says: “ pick this up as much as you can.”  He turns on the music and starts the movement over and over, phrasing it all together.  After a couple of minutes, he turns off the music and says: “any questions on that?”  It reminded me of an SNL skit where the choreographer comes in, screams 5-6-7-8, and everybody just starts frantically trying to pick up an unknown phrase.  For as much as I was initially amused by the ridiculousness of it, I was quickly amazed by the seriousness and attention we, the dancers, gave to learning the work in front of us.  This moment  was amazing;  looking around the room filled with such talented and beautiful dancers that I highly respect, and each of them working as hard and  fast as they could.

As I said earlier,  John is very precise as to what he wants and what he doesn’t.  This allows the dancers to confidently deliver a strong performance with clear movement and character choices.

At the end of day on Thursday, prior to the crazy SoCAl Blackout of 2011, we started some new material for the last group section.  So excited for next week to see how that  piece develops.  We shall see…

For now, I invite everybody to come to the show to see what unfolds from all of this exciting new work! With choreographers like these, the show is sure to satisfy every one in the audience!

- Viviana

P.S  I have been able to see some of the other sections in this piece and let me tell you… Nick’s solo is Hot! And Christine Marshall and Kamla Somphanh in a duet….need I say more?





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Malashock Blog Series: Behind The Curtain - RAW vol.2

Wednesday, September 7th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

Malashock/RAW 2 Producer, "Desperate Love" choreographer and Malashock Associate Artistic Director   MICHAEL MIZERANY  talks rehearsal process

These past two weeks have been very exciting, exhilarating and exhausting. Yes, the triple E. In all honesty, my work started weeks before we began rehearsals on August 22nd .

I had decided early on to have an original sound score composed for my new RAW work, DESPERATE LOVE. Fortunately, last spring, I met a very talented composer name Blair Robert Nelson when I was choreographing the play DOOLEY at Diversionary Theater. When he agreed to create an original composition for my RAW piece, I was ecstatic (yes, another E!).

Once in the studio, I decided to use a metronome instead of music (mainly so Blair would not be unduly influenced by my musical choices) but soon discovered that the incessant and constant tick-tick-tick-ticking was going to drive me nuts (maybe not a drive, more like a short putt). Eventually, I decided to use music that inspired me, and Blair has been very good at muting my choices and creating his own outstanding original music.

When I began rehearsals on August 22nd , I was fortunate to have two of our senior company members, Christine Marshall and Nicholas Strasburg, as well as two local male dancers, David Wornovitzky and Justin Viernes, as my cast for DESPERATE LOVE.

The first three days were with all the men (Christine Marshall would join us on day #4). I primarily worked on a fast-paced, energetic and a somewhat dangerous male trio that incorporated lots of legs, lots of jumps and some intense partnering. For most of you who know me, my dances or my classes, not all that shocking. Having worked with me for the past four years, Nick knew what to expect, but I wasn’t quite sure how David and Justin would react. Not surprisingly, they were all in and approached the movement and lifts with RAW nerve and daring. It was never, “We can’t make that lift won’t work” but “How can we make that lift work.” David and Justin are problem solvers and, as a choreographer, you’re really glad to have that kind of attitude in the studio.

Once Christine Marshall joined us, I was able to focus on a duet between her and Nick. Nick and Christine are a dangerously combustible pair (and I mean that in the most positive and thankful way possible). Nick doesn’t have a spring in his step, but a “vault” in his step. He possesses a quicksilver energy and gravity-defying courage that is inexplicable. Christine is long and lithe but, when prompted, is a fearless ninja tornado, yet she doesn’t leave destruction in her path, just awe.

DESPERATE LOVE has a few surprises in store. If you are sitting in the SPLASH ZONE (the VIP premium seats situated on the stage with the performers), you will most definitely have the ultimate Malashock/RAW experience.

Michael Mizerany
Associate Artistic Director, MALASHOCK DANCE

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Malashock Blog Series: Behind The Curtain - RAW v.1

Tuesday, August 30th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

RAW DANCER DAVID WORNOVITZKY DISCUSSES THE PROCESS THUS FAR

This week, rehearsals for Malashock/Raw began with Michael Mizerany, so I was asked to talk a little about my experience in the process. It has been an intense week, but at the same time, a very rewarding one.

Coming in the first day, I wasn’t sure what to expect. Although familiar with Michael’s work, I can’t say that I was familiar with his process. We started off with some phrase work to get to know a little of the movement - which would have been familiar to anyone who was there for the audition. This helped us get in tune with each other and, of course, it got our bodies warm and hearts pumping.

What I started mentally preparing for, even before rehearsal started, was partnering. I knew that there would be some crazy partnering, and of course Michael did not disappoint. I was fortunate to be working with Justin and Nicholas, two dancers, who, are not only are excellent dance partners, but were also fully committed to it. Yes, we had our mishaps, and a few lifts that didn’t work, but when trying it, we put all there was into it, and did our best to try and figure out how to make it work.

All along, Michael was there to help where he could and tell us when it just wasn’t working. He would tell us in the most polite way - by saying that it was well done and we were doing just what he said, but it just wasn’t working.

After all of that, I have to say, that I was grateful when we got to parts of the piece that were not so overly energetic, because it gave my body and mind a moment to digest it all.

I decided to take the preventive method - instead of waiting to be completely sore, I have been taking hot baths and icing when time allows. I can’t say that I haven’t been sore, but I am sure that it has made it more manageable. It has helped with all the soreness from doing so much partnering and helped soothe all those parts of my body that are somehow missing skin, be it from the floor or from somebody’s body scraping it over and over.  As Justin said, " tiger balm became a good friend of ours."

We were joined by Christine when it was time to figure out how to fling her around and around. By then, my body was more used to the work and, I have to say, it has become easier and easier. No doubt that the fact it was three of us figuring out how to lift Christine, who is, shall we say, on the smaller side and a great partner, also made it lighter. Sure, there is still quite a bit of my body that is thankful we have a couple days to rest before we take the next week on. However, all of me is ready and excited to take it on, work with amazing people, and see what comes out of it all.

But only you can say how it all turned out. So join us this Friday, September 2, for the open rehearsal and get a glimpse of it. Or just come and see Malashock Raw on October 20-22 for the full experience.

Best,

David

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Malashock Blog Series: Behind The Curtain (Malashock Summer Intensive - v.9)

Friday, July 29th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

MALASHOCK ASSOCIATE ARTISTIC DIRECTOR MICHAEL MIZERANY WRAPS UP  THE SUMMER DANCE SAN DIEGO EXPERIENCE WITH HIS FINAL BLOG ENTRY


MALASHOCK SUMMER INTENSIVE PERSONAL BLOG POST #6

The Malashock Dance Summer Intensive ended a week ago. The three weeks seemed to fly by with bionic speed. It was a wonderful whirlwind of Technique, New Works, Repertory, and mini-workshops in Photography, Contact Improv, Acting for Dancers and Composition.

A special and heartfelt thanks to the all the awesome teachers we brought in for the Intensive: Keith Johnson, Jess Humphrey, Kim Walsh, Alisha McGraw, Julianne O’Brien Pedersen and Sara Rudner & Megan Boyd. They did amazing work.

The Summer Dance San Diego performance at SDSU went remarkably well. The theater was packed, the dancers were breathtaking and the audience was enthusiastic.

All the dance works looked terrific but special kudos go to my repertory groups. They were inspiring in TRIBES, unabashedly sensual in BAD COMPANY, stellar in THE FLOATING WORLD and deliciously evil in THE CURSE OF MILHAVEN.

As I remember my time with the students, I find myself recalling not only the great technical and artistic strides they maneuvered, but also how much fun we had. We worked hard, danced tirelessly and laughed endlessly.

Applesauce, Egg salad and Wonder bread! (The Intensive students will know what this means.)

Thank you for the fantastic experience. Can’t wait until next year!

Michael Mizerany
Associate Artistic Director, MALASHOCK DANCE

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Malashock Blog Series: Behind The Curtain (Malashock Summer Intensive - v.8)

Friday, July 29th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.


FACULTY MEMBER JESS HUMPHREY TALKS ABOUT HER EXPERIENCE TEACHING CONTACT IMPROVISATION AT THE 2011 SUMMER DANCE SAN DIEGO

I feel very lucky to have been a part of the Malashock Summer Intensive!

Contact improvisation often asks dancers to let go of so much - including excess muscle tone, habits around performing, fear, control…it can be overwhelming.

I felt so privileged to witness some of the dancers in their first experience of Contact, and to watch others continue their explorations. They were quite mature in their approach to the material and many returned even though they felt a bit confused. An off-kilter orientation and the willingness to know less and listen more are both highly valued qualities in contact improvisation.

I loved watching them "relearn" how to work with being off balance, falling, and sharing weight with others. I believe that some trust was built among them in an incredibly short time, and in our culture, that is a beautiful thing.

Three of them actually performed a short, scored improvisation on Friday night. Their willingness to bring their process into a performance setting was a beautiful thing to behold. I was captivated by their vulnerability during the show.

Lastly, Molly, John, Michael, and Scott are so great to work with. The level of respect and professionalism I experienced in their presence made it a pleasure to be around them, and to be a part of the intensive.

Thanks to all of you for another great experience this summer!

- Jess

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Malashock Blog Series: Behind The Curtain (Malashock Summer Intensive - v.7)

Monday, July 25th, 2011 by Scott M.

Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

SOME LIKE IT HOT PHOTOGRAPHER ALISHA MCGRAW TALKS ABOUT HER EXPERIENCE SHOOTING SUMMER DANCE SAN DIEGO

What a fabulously fun way to be a part of the Malashock Summer Intensive - taking dance photos!!

We spent some time talking with the dancers about what they can expect from us, how to prepare themselves for their photos, future experiences when photographers who don’t always ‘speak’ dance, and how to help them understand the goal of their photos.

The three of us (Holland, Geoff & I) started in the East room setting up our backdrops while the dancers had some time to cool off and style themselves. It was nice to see that many were using suggestions from the lecture about make-up, hair and outfits. They certainly looked great for only having 24 hours notice to gather the things they needed.

Each dancer had a headshot at first (and I won’t lie - there are a few dancers who I’d trade eyes with any day!)

The window light made them all just pop.  I am kind of in love with the studio - its a photographer’s dream lighting situation. And it was during the headshots when the flow of photography really began.

Once they finished their headshot, dancers prepared themselves for what we called "body shots" on our black backdrop. The goal was to show off the muscles and arches we noticed yesterday while looking at the students during the lecture portion.

We also got a sneak peek at some choreography they were learning and knew we had some talented dancers that would be able to show us nice lines and flexibility.

Holland was taking the body shots, Geoff was rocking the lighting, and I helped with tips to improve the poses for lighting and dimension purposes. The dancers really brought some creative ideas, and even utilized some partner and floor work as well. I do hope they all take a nice hot relaxing bath, because after holding those poses for us, at the end of an already extraneous week, my guess is they may wake up a little sore tomorrow.

After working their faces for headshots, and exhausting their muscles doing ‘photography yoga’ holding poses, it was finally time for jumps! Molly gave us a great idea, suggesting we use the arched corridor downstairs. We scouted the area and she was right - it was perfect!!!

First, we did a group shot, and then we started the leaping fun. They dancers looked fabulous, technique classes were really paying off. They had beautiful lines and pointed feet in their jumps, and since their muscles were all warm from the posing, their splits and C pops were at their optimum!

Oh, and did I mention, we went a little over time, but it was worth every minute. We wanted to make sure each dancer felt content before we left.

Thanks again to everyone at Malashock for inviting us to be part of the summer intensive! And thank you to the dancers for being open to our ideas and willing to work so hard even after we were supposed to be done! We can’t wait to show off the photos!

Best,

Alisha

Alisha McGraw

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