Artist Story: The Space/Movement Project

The Space/Movement Project is a non-profit modern dance collective in its fourth season. While roles have shifted and new members have joined, the overall mission of the group has been maintained throughout its existence. The company has committed itself to operating under the condition that each member’s voice is valued and all resources are shared equally to create work. This isn’t to say that we don’t have guidance. Company member Allyson Esposito serves as executive director and handles the group’s administrative responsibilities. The group absolutely needs this position to function. While ensuring that all operations are running, Allyson is careful to include everyone on big decisions and doesn’t hesitate to ask for advice. With the large amount of dancers involved, and many near-scheduling disasters, it’s inevitable that many of us may filter into various positions based on our availability. However, as one person may have to take a step back, another tends to rise to the occasion. There’s a complete willingness to help where needed.

 

Creatively, we are somewhat defined by the challenges that we face. By considering all group member opinions we are decisively a collective. The structure of the group would not work without compromise; and in the midst of heated debate we may need to be reminded of that essential fact. How we meander towards agreement can be tedious and frustrating, but it provides an assortment of options and more room for thought. Even as we co-choreograph pieces that involve everyone (envision ten dancers and ten mouths moving at once), our many ideas create texture that can only come out of a highly collaborative process. You don’t know how many other possibilities are out there until you’ve heard ten of them, which in turn brings up ten more after that. It really is an interesting breeding ground for creativity.

Typically TS/MP produces one major show throughout the season in which each dancer is invited to contribute choreography. Some choreographers may choose to make an entire dance, others a short solo. Whatever a member wants to contribute is welcomed. However, the end result is not a glorified dance recital. We are not producing a hodge-podge of pieces amassed to create a show. Choreographing together and creating a collective work doesn’t mean that everyone uses the same methods or movement style. In fact, it nurtures the eclecticism of each choreographer’s viewpoint. While the content of each piece may promote a different style and mood, the overall concept of the performance creates connectivity. Prior to the rehearsal process, the group devises an overall theme for the upcoming show. Last year, one company member, who is interested in physics, suggested the show center around Werner Heisenberg's theories on quantum mechanics. Heavy material? Yes. Overwhelmingly intellectual? Maybe. But we all can agree that simple physics support the basis of movement, a concept that will inevitably fascinate dancers. This is where our 2007 evening length show, The Uncertainty Principle, was born. The union of dance and science created limitless possibilities upon which movement could be generated.

One of the most beneficial things about the group is that we are young and relatively new on the Chicago dance scene. We have a unique opportunity to present something to the community that doesn’t necessarily follow the template of what other dance groups are doing. At the same time we are still exploring how the company works. TS/MP does not offer contracted positions nor does it provide any financial compensation. I measure our company commitment by the fact that we really want to be working together. On Sunday night at 7:00 we all clearly enjoy what we are doing. I think everyone is drawn to the energy created by such a diverse group of performers. No one is expected to fit a certain mold or aesthetic. Good technique is highly valued, but there is substantial freedom when it comes to expressing distinctive movement styles. We become even more committed to how we move naturally because it is encouraged. It’s a perfect balance of structure and freedom. Yes, we are all trained in modern dance, but we’re intent on contributing something unique and excited to see what others bring forth.

Scheduling is a definitive obstacle for a group of dancers who boast multiple jobs apiece. It means finding offbeat times to get the group together. In starting rehearsals for our spring performances, we sacrificed Sunday night company class and put a full-company piece rehearsal in its time slot. Without lengthy rehearsal times, the process needs to start several months in advance, giving choreographers the chance to investigate their own idea and build all pieces into one unified work. Where there’s an impediment in this company, there’s almost always a flip side. We are extremely busy individuals possessing an array of careers outside of our dance personas. Different experiences contribute considerably to what we do. We’ve been able to turn frustrating obstacles into workable situations, to share ideas and resources and to make dance in our own way. Tenfold.

The Space/Movement Project is a collective of dance artists whose mission is to create new work that both contributes to and draws upon developments in contemporary dance forms. The collective empowers artists to create increasingly meaningful work and pursue individual artistic objectives by providing a forum for ongoing dialogue, and by sharing financial and creative resources.