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Dance: art form and evolution
Rebecca McCormac / Photo Credit: Scott Allen
Copyright Notice: Photo provided by Rebecca McCormac. Used with full permission.
Copyright Notice: Photo provided by Rebecca McCormac. Used with full permission.
Important Note: The interview is a straight cut / paste from an interview request to Ms. McCormac.
Ms. McCormac,
Thank you very much for your valuable time. Surreal ValeCity is seriously looking forward to attending/ covering VERTERE. Honestly, this will be the first dance theater performance for myself and Surreal ValeCity. Very curious about several aspects on dance as an art form. How the idea for VERTERE was formed and evolved. To learn more about CoreDance Contemporary and dance studios/schools in general.
Thank you very much for your valuable time. Surreal ValeCity is seriously looking forward to attending/ covering VERTERE. Honestly, this will be the first dance theater performance for myself and Surreal ValeCity. Very curious about several aspects on dance as an art form. How the idea for VERTERE was formed and evolved. To learn more about CoreDance Contemporary and dance studios/schools in general.
How did the idea for VERTERE come into existence?
Rebecca: “VERTERE” is the title for CoreDance Contemporary’s 2018-2019 Spring Season. The word is derived from the Latin Root “Verto” to form the verb “Vertere” which means to turn. Having explored many ways of creating circularity throughout the choreographic process, “VERTERE” just seemed to make sense?
How did it (VERTERE) evolve?
Rebecca: The work premiering during the company’s “VERTERE” Season is titled “Unnerving Disequilibrium at Altitude”. Set in the Film Noir Era of the 1940s and 50s, this evening length work is an exploration of "Height Vertigo". A space and motion discomfort sensation caused by the interaction between Acrophobia and Vertigo. Two environmentally specific phobias which cause reactions to objects and/or situations the effect of which is usually a feeling of anxiety and/or anticipation.
I have viewed the website and Facebook page. CoreDance Contemporary, what was the original idea / concept?
Rebecca: I founded CoreDance Contemporary back in 2011 as I wanted to begin creating and self-producing my own work.
Did the idea / concept take on a life of its own? I know, from experience, projects can be perfectly planned and evolve in new directions.
Rebecca: I would say that the original idea for the company has remained true. Being ambitious what I would say has changed from the early onset is where I see the company going in the future.
What is your experience / history with dance as an art?
I began my dance training at the age of four. This training turned into a passion and by the time I was of high school age I knew that I wanted to continue my dance education and eventually have a career in dance. Following high school, I attended The Australian Dance Performance Institute, a full-time dance conservatory. After completing two years here and achieving the status of Registered Teacher of the Royal Academy of Dance, I moved across the country to attend The Western Australian Academy of Performing Arts. I trained here for four years and in my fourth year was fortunate enough to tour to Europe to perform with LINK Dancers Company. After gaining my Master’s Degree in Dance I moved to New York in the hope of furthering my ambition to turn dance into a career. I was fortunate enough to perform with Barry Blumenfeld’s “Tap Fusion” and Ellen-Stokes Shadle’s “Dance Works”. In 2011 I founded CoreDance Contemporary and have been riding this wave for the past 8 years. CoreDance Contemporary has been presented at; APAP New York City Center, The ODC Theatre San Francisco, The Dairy Arts Center Boulder, The Dance Complex Boston, CHI Movement Arts Center Philadelphia, Your Move NJ, Alvin Ailey, New York City Center, Steps on Broadway, DANY Studios, PMT, Dixon Place, White Wave, Triskelion Arts, The Actors Fund Arts Center and Green Space.
How difficult / hard on the body is doing a dance performance? I am referring to possible injuries, stress on different body parts, etc.
Rebecca: The difficulty level and amount of stress put on the body heavily depends on the type of movement being asked of the dancer. As I mentioned before, my work tends to be athletic and partner centric. Three of my dancers have previous (not from working for me) knee injuries from ‘wear & tear’ and have had surgery and undergone rehabilitation to address these problems. Muscle soreness and stiffness is inevitable. Warming up before any form of exercise and cooling down after are two things that one can do to help alleviate some of the stress. Having a very strong ‘core’ also helps dancers avoid lower back injuries when doing partnering, contact and lifting work. Dance is considered an art, but it truly is as athletic as a sport. I choose (audition and hire) dancers who are muscularly strong and fit.
How much of a dance performance is psychological for the performer?
Rebecca: I would say that depends on the individual performer! Performance anxiety is certainly a real thing for a dancer. Some dancers deal better with it than others. What is important is to develop techniques/mechanisms before a performance to assist with this anxiety. As a company we have a pre-performance routine that we go through to ready us for the stage. It is important to come together off stage, so we can be together and ‘there’ for each other when we are on stage.
I almost always end interviews with a variety of this question:
What advice would you give anyone who is interested in the art of dance?
Rebecca: Delve in! The reward is worth it!
Again, your time is greatly appreciated. I hope you enjoyed the questions and interview.
Rebecca: “VERTERE” is the title for CoreDance Contemporary’s 2018-2019 Spring Season. The word is derived from the Latin Root “Verto” to form the verb “Vertere” which means to turn. Having explored many ways of creating circularity throughout the choreographic process, “VERTERE” just seemed to make sense?
How did it (VERTERE) evolve?
Rebecca: The work premiering during the company’s “VERTERE” Season is titled “Unnerving Disequilibrium at Altitude”. Set in the Film Noir Era of the 1940s and 50s, this evening length work is an exploration of "Height Vertigo". A space and motion discomfort sensation caused by the interaction between Acrophobia and Vertigo. Two environmentally specific phobias which cause reactions to objects and/or situations the effect of which is usually a feeling of anxiety and/or anticipation.
I have viewed the website and Facebook page. CoreDance Contemporary, what was the original idea / concept?
Rebecca: I founded CoreDance Contemporary back in 2011 as I wanted to begin creating and self-producing my own work.
Did the idea / concept take on a life of its own? I know, from experience, projects can be perfectly planned and evolve in new directions.
Rebecca: I would say that the original idea for the company has remained true. Being ambitious what I would say has changed from the early onset is where I see the company going in the future.
What is your experience / history with dance as an art?
I began my dance training at the age of four. This training turned into a passion and by the time I was of high school age I knew that I wanted to continue my dance education and eventually have a career in dance. Following high school, I attended The Australian Dance Performance Institute, a full-time dance conservatory. After completing two years here and achieving the status of Registered Teacher of the Royal Academy of Dance, I moved across the country to attend The Western Australian Academy of Performing Arts. I trained here for four years and in my fourth year was fortunate enough to tour to Europe to perform with LINK Dancers Company. After gaining my Master’s Degree in Dance I moved to New York in the hope of furthering my ambition to turn dance into a career. I was fortunate enough to perform with Barry Blumenfeld’s “Tap Fusion” and Ellen-Stokes Shadle’s “Dance Works”. In 2011 I founded CoreDance Contemporary and have been riding this wave for the past 8 years. CoreDance Contemporary has been presented at; APAP New York City Center, The ODC Theatre San Francisco, The Dairy Arts Center Boulder, The Dance Complex Boston, CHI Movement Arts Center Philadelphia, Your Move NJ, Alvin Ailey, New York City Center, Steps on Broadway, DANY Studios, PMT, Dixon Place, White Wave, Triskelion Arts, The Actors Fund Arts Center and Green Space.
How difficult / hard on the body is doing a dance performance? I am referring to possible injuries, stress on different body parts, etc.
Rebecca: The difficulty level and amount of stress put on the body heavily depends on the type of movement being asked of the dancer. As I mentioned before, my work tends to be athletic and partner centric. Three of my dancers have previous (not from working for me) knee injuries from ‘wear & tear’ and have had surgery and undergone rehabilitation to address these problems. Muscle soreness and stiffness is inevitable. Warming up before any form of exercise and cooling down after are two things that one can do to help alleviate some of the stress. Having a very strong ‘core’ also helps dancers avoid lower back injuries when doing partnering, contact and lifting work. Dance is considered an art, but it truly is as athletic as a sport. I choose (audition and hire) dancers who are muscularly strong and fit.
How much of a dance performance is psychological for the performer?
Rebecca: I would say that depends on the individual performer! Performance anxiety is certainly a real thing for a dancer. Some dancers deal better with it than others. What is important is to develop techniques/mechanisms before a performance to assist with this anxiety. As a company we have a pre-performance routine that we go through to ready us for the stage. It is important to come together off stage, so we can be together and ‘there’ for each other when we are on stage.
I almost always end interviews with a variety of this question:
What advice would you give anyone who is interested in the art of dance?
Rebecca: Delve in! The reward is worth it!
Again, your time is greatly appreciated. I hope you enjoyed the questions and interview.
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