Choreographer RoseAnne Spradlin is named a 2014 US Artist Fellowship recipient.
g-h-o-s-t c-r-o-w-n (working title)
The Latest Update
United States Artists Fellowship for choreographer RoseAnne Spradlin
photo from New York Times Review
Here’s a photo from our New York Times Review.
New York Times Review
Check out our recent review in the New York Times.
Creative Residency Week at New York Live Arts
We’re trying out our costumes and approaches to lighting the new work. In this photo you see the sculpture Something (black) by Glen Fogel. In the foreground is Rebecca Warner in costume by Walter Dundervill. Lighting by Stan Pressner / Ben Hagen.
The sound of Conflict
As promised, here’s a sample of the quartet playing together. These two minutes of music come from a rehearsal on August 20 in which we were trying out ideas for the music-focused section of the piece (no dancers on stage). RoseAnne has been taking inspiration for each of the eight sections of the piece from a different hexagram of the I Ching she finds interesting. The hexagram (a set of six broken or straight horizontal lines stacked on top of each other) she picked for this section is Conflict.
The Conflict hexagram contains within itself four interlocking trigrams (sets of three broken or straight lines) corresponding to Heaven, Fire, Wind, and Water. So I’m approaching this section with the idea that the music should explore the idea of conflict in various ways, with each of the four of us assigned a different trigram (me: Heaven, Hannah: Fire, Mara: Wood, Lisa: Water). I’ve added audio effects to the different players to help suggest these trigrams. My sound is doubled by a pitch-shifted version of itself up an octave to climb the heavens; Hannah has a high crackly grain delay that reminds me of fire; Mara has a dynamic boost to emphasize the wind sounds she makes later in the excerpt; and Lisa has a delay like the lapping of waves.
The excerpt starts with a tense moment of stasis, emerging from the dystopian long tones that end the previous section, before plunging into group chaos (or conflict) as represented by noisy tremolo. After a minute or so, the texture thins out and each instrument starts to establish the sound corresponding to its trigram more clearly.
How does it develop from there? Come to the show and find out!
Jeff here! Wanted to post about the band that will be playing my music at the premiere of “g-h-o-s-t c-r-o-w-n (working title)”in October. The four of us have now been rehearsing together for a while both with and without the dancers, and I thought I would write a bit about how I know the other musicians.
I’ve officially known bass clarinetist Mara Mayer the longest – we attended the same chamber music summer festival in 2005 back when she was a clarinet student at Eastman and me a violin and composition student at Oberlin. But we didn’t really get to know each other until October 2011, when two bands we played in, Valerie Kuehne’s Dream Zoo and Rachel Mason’s Little Band of Sailors, went on a two-week tour together. Since then, we’ve collaborated in many ways on many occasions – we’ve co-hosted the house concert series Home Audio (which Mara curates), she’s played with my group thingNY, we’ve played in other bands together (glam rock orchestra This Ambitious Orchestra, a pickup quintet playing Viennese waltzes for dancing…), not to mention that we were roommates for a year – the list goes on. So we have a very good sense of how we work together – we can push each other without driving each other too crazy.
I met violist Hannah Levinson at Oberlin, where she was a couple years younger than me and pursuing degrees in both Viola Performance and Russian and East European studies. I got to know her better after I had moved back to New York, while I was freelancing and she had moved on to the Manhattan School of Music (MSM) to get a masters in contemporary music. We played together in various projects, most notably in May last year, when she and I joined another thingNY member, Andrew Livingston, to play his semi-improvised trio score for a puppet performance at St. Ann’s Warehouse. Hannah and I also overlapped for one year at the Lucerne Festival Academy in Lucerne, Switzerland, playing contemporary orchestra music in an unbelieveably beautiful setting by a lake near the Alps. Like Mara and I, she is also active in the rock world, playing in her band All Boy/All Girl – I know her as a well-rounded musician and a dependable, even-tempered person.
Bassist Lisa Dowling is the one I know least well of the group, but I’ve long admired her playing. She and Hannah were students in the contemporary music program at MSM at the same time, and I’ve kept track of her as she runs around the city playing as singer/songwriter alter ego kills to kisses, as DJ L’il Miss Dolemite, in the versatile flute-bass-percussion trio Concert Black, as one quarter of bass quartet Heavy Hands, among many other steady roles. However, the first time I played with her a couple years ago, it was for extended free improvisation in a roomful of people who mostly didn’t know each other in a small music venue/art gallery in East Williamsburg. It was part of a series I was curating at the time called Beasts of Improvisation on Parade, and when I asked her I wasn’t sure if she’d be interested in joining; later I remember Pat Muchmore, the cellist I’d picked as featured composer/performer that night, commenting on what a great sound she had. I agree. But she also has a great up-for-anything attitude, which makes her perfect for a project with so many moving parts like this one.
Above is a selfie I took of the four of us. Left to right, Lisa, me, Mara, and Hannah. Soon, I’ll share a sample of what we sound like together…
new cast members
In the ‘summer intensive’ process of creating this new piece, now called
g-h-o-s-t c-r-o-w-n (working title)
I have added three new dancers to the work. The full cast now is Devynn Emory, Natalie Green, Athena Malloy, Saúl Ulerio and Rebecca Warner.
a new title for the work
I started work on the piece that will premier at New York Live Arts in October, 2014 more than two years ago, and have worked on material through 3 different creative residencies with 10 different dancers. Now that the premier is only months away, I’ve decided to change the title of the work. When the work premiers the full title will be “g-h-o-s-t c-r-o-w-n (working title).” Yes, everything in parentheses is part of the title! I’ll tell you a little more about the new title in my next update; right now I have to run off to a rehearsal!
in the New York Times
“indelible disappearance – a thought not a title”
RoseAnne Spradlin and dancers will be involved in a full-time rehearsal residency at Gibney Dance Center at 890 Broadway, 5th Fl, the week of April 21-26, 2014. Spradlin is one of four Dance In Process resident artists in the 2013-14 season.
“indelible disappearance – a thought not a title”
“indelible disappearance….” will premier the week of October 6, 2014 at New York Live Arts in New York City. Please mark your calendars now!
For professional inquiries (presenting, touring, etc) please contact Meredith Boggia at firstname.lastname@example.org or RoseAnne Spradlin at email@example.com.
More updates about our creative process and the cast coming soon!
Choreographer RoseAnne Spradlin and composer Jeffrey Young will collaborate on the creation of a new dance performance work set to premiere in the Fall 2014 season at New York Live Arts in New York City. In this new work Spradlin will explore change and risk and invite the audience to engage in both calculated witnessing and emotional participation. Each of eight nine-minute sections will be rooted in one of the sixty-four hexagrams of the Chinese classic I Ching; the viewer’s experience will be linked to the fortunes of the dancers as they take on a sequela of diverse, possibly random performance demands. The work will be performed by devynn emory, Natalie Green, Athena Malloy, Saúl Ulerio, Rebecca Warner, with guest appearance by Asli Bulbul. Visual artist Glen Fogel will contribute projected visual imagery; Stan Pressner will design the lights. The costumes will be designed and constructed by Walter Dundervill. Spradlin will direct the entire production.
Composer Jeffrey Young will create the 70-minute work’s sound score to be performed live by himself (violin and live electronics), Hannah Levinson (viola), Lisa Dowling (bass), and Mara Mayer (bass clarinet). He will manipulate the sound of the quartet of amplified musicians using live processing software Ableton Live and will trigger samples including recordings of the voices of the dancers. Young’s sound score will provide beauty, mystery and shading to the work. A nine-minute section near the middle of the piece will put the music front and center, with lights and projections but with the dancers absent from the scene.
The premiere run of “g-h-o-s-t c-r-o-w-n (working title)” at New York Live Arts in New York City is secured for October 8-11, 2014. Live Arts is providing a commissioning fee, residency fee and a one-week full technical residency with dancers and collaborators prior to the premiere week. Spradlin and Young have secured grants from New Music USA to support commissioning and performance fees for the composer and musicians and to support the general project production. Other grants have been secured through the Mertz-Gilmore Foundation and the Lower Manhattan Community Council. Spradlin arranged an early-stage creative residency through Gibney Dance in NYC where she is a resident artist. The two-week, full-time creative residency took place in December 2013 allowing Spradlin and Young to create a work-in-progress section that was performed in January ‘14 at the American Realness Festival at Abrons Arts Center. A third week of residency took place in April 2014. The new work will also be supported by a production in New York Live Arts’ January ’15 Live Artery series which is targeted to visiting producers and presenters from around the world.
1. beginning of something (2011) Recorded at New York Live Arts, NYC in 2012.
2. Blue Liz (2008) Recorded at the Kitchen, NYC in 2008.
3. Survive Cycle (2006) Recorded at Dance Theater Workshop, NYC in 2006.
Start and End Dates
10/01/2014 — 10/04/2014
New York, New York