at American University involves coursework that improves my teaching and allows me to pursue academic interests. I will present a paper on the body in the romantic ballet at the National Popular Culture Association/American Cultural Association conference in New Orleans in April 2003. I also recently contributed an article to the journal 21st Century Music on the use of new music in choreography. My big project is a book, which I am beginning as my graduate degree thesis, exploring connections between dance and environmental philosophy. Dance allows me the passionate pursuit of diverse interests. Musical invention “Musical Invention,” the title of the company’s most recent performance, is an appropriate moniker. A three-fold pattern guides my choice of music for choreography. Classical music is always included, with an emphasis on the Baroque. J.S. Bach, Christopher Simpson, Jean-Philipe Rameau, Antoine Forqueray and Henry Purcell are some favorites. I also like to compose to contemporary music. With so many young people in the audience, I like to include musical pieces with lyrics and direct meaning, to which they easily relate. Finally, I emphasize new music. Dance as a concert form has, since its inception, been connected to the production of new music. Modern choreographers, such as Twyla Tharp and Merce Cunningham, have taken this to a new level, and I aim to follow in their footsteps. From 1998, when I first presented a piece in New York City at the Judson Church, I have been collaborating with a fellow Oberlin graduate, Andrew Shapiro, on new music. For each of the last two seasons, Andrew and I have worked to develop a group of piano études, which he performed live at the company’s concerts. I also worked with composer Zachariah Hickman, who makes his living gigging
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on the upright bass and playing all of the backup instruments for singer-songwriter, Josh Ritter. Zack wrote a new passacaglia for the last performance which was scored for seven instruments, all of which he played. (It was, of course, pre-recorded.) I have certainly been influenced in my musical tastes by my time at Milton. I was a Miltone and a chamber singer at Milton and Scott Tucker, the music teacher during my time at Milton, was an idol of mine. In chamber singers we sang several of American composer, William Billings’s pieces, including “David’s Lamentation.” I meant to choreograph to Billings ever since then, and on the last concert I finally did, creating a trio to the Lamentation.” My singing career and exposure to music at Milton helped me develop the sensitivity to music which is becoming part of my signature style. Beyond music visualization Initially, I wanted simply to create something beautiful through my work. I have tried to tie the dance to pieces of music which that are particularly engaging and jewel-like. The term “music visualization” in dance theory applies to much of my past work – but the better half of my work reaches further than music visualization, trying to illuminate relationships among the dancers and their feelings. As a choreographer, I have been exacting with my dancers, coming to rehearsals with the pieces largely already formed. Now, I have come to believe in revising this top-down approach. The dancers transmit the vision. To embody the work in a way which that communicates meaning to the audience, they dancers must be truly invested in the work. The dance will be more fulfilling for me, the dancers, and the audience if it allows dancers the space and freedom, so they as a group can communicate. I wish to retain a rigorous approach to the music, but am more concerned now with helping each dancer define what he or she has to say and give to the audience. I work more collaboratively now, providing the dancers with structure while allowing them to help design the movement and working with them to define the piece’s content.
The power of connection Art is about change: captivating, inspiring, and moving an audience to realize and feel new things. When I watch dance, I feel, as a dancer, an empathic connection with the other dancers on the stage. Most people, whether watching theater or dance, feel that empathic connection. The power lies in developing it. The dance must be beautiful, but when it resonates with the soul it can be exponentially more inspiring. I look forward to a lifetime working to strengthen this connection. The piano études written for the Blackbird Dance Ensemble concerts are available on CD from AndrewShapiro.com. The Blackbird Dance Ensemble will be coming to a theater near you soon. For information on booking Robert or the company for master classes, lecture demonstrations or performances, contact Robert_Bettmann@mail.com.