Your pledge supports production costs for rehearsals, costumes, music composition & performance, dancers stipends, lighting design for a series of performances culminating at Atlas INTERSECTIONS Festival in Washington DC on March 2, 2014. Artists are involved in a collaborative process.
A series of performances unfolds. In January, there are performances at Theatre on the Run in Arlington. For each of these performances, Tom Teasley's live percussion merges with dance performed by 6 core company members, and an additional cast of community based dancers. The rehearsal process is stimulated by oral traditions and from the re-interpretation of symbols and mapping. We want to learn more about the process of collaboration, apply this to the educational work we do in the community for arts-focused and those new to the arts, and create a new work that is relevant, beautiful and engaging to audiences. .
- November 17 "Coyote Blue" at the Athenaeum, Alexandria VA
- January 11 "See" at Theatre on the Run, Arlington VA
- January 18 "The Trickster" at Theatre on the Run, Arlington VA
- January 25 "The Trickster" at Theatre on the Run, Arlington VA
- March 2 "Blue Moon/Red River" at Atlas INTERSECTIONS Festival in Washington DC, Atlas Performing Arts Center
- core company October 1, 2013 - July 2014
- community based dancers January 16 - February 27, 2014
- March 14, 2014 "Blue Moon/Red River" Blue Ridge Community College, Weyers Cave VA
- July 2014 "Blue Moon/Red River" TBD for Capital Fringe
- to produce digital or online educational materials that highlight the creative process of collaboration
- community based dancers performances at centers serving older adults - February 14, 2014 at Langston Brown Center, Arlington.
Ideographs...The representation of ideas by graphic symbols, crossing language and a signature in time.
The petroglyphs of the American Southwest are clan symbols, represent journeys taken, communicate about natural resources and animals, astronomical events like the equinox or an eclipse. This new work by Jane Franklin, percussionist Tom Teasley, and visual artist Howard Connelly represents an interpretation of symbols through movement and music. The vastness of the sky, the timelessness of the Supai Formation rock deposited 280 million years ago, are part of the identity of the remote areas of the American Southwest, a region seemingly untouched and underpopulated. The land forms wide, empty valleys interspersed by low, scrub-covered mesas and deep canyons where there is evidence of human culture and tradition etched into weathered surfaces of sandstone.
Why were these carvings, these remnants of daily life made? Were they placed there to mark the landscape, to show a trail or to indicate the presence of water? Were the petroglyphs placed there to record events like travels or migrations, or simply to tell a story, or to record success?
Story-telling, interpreting and finding meaning in symbols & mapping creates our narrative and marks the path. With our first sections we used creation myths, "The Begining of the World" (Yokuts) and "How People Were Made" (Miwok). For subsequent sections body markings may be interpreted in multiple ways, and maps represent journeys taken.
The images at Canyon de Chelly in Arizona were left between A.D. 1 through around 1300. Without these drawings, we may not have know about the inhabitants, and though we speculate about the meanings of the drawings, the one thing evident is the human determination to make things and to leave a record.
In one of the update pages, you'll see video from Canyon de Chelly, Chaco Canyon, Mesa Verde and Monument Valley interspersed with the dancers in rehearsal. The movement was developed from symbols such as those found at Canyon to Chelly and the music is by Tom Teasley.
Risks and challenges
Bad Weather that results in cancellation of a show
Rehearsal period was shortened
Tom's percussion equipment, lost, stolen, damaged
Inability to find a costumer or a lighting designer
Marketing and administrative mistakes
Same as the above, as each one of these things, and more, are inherent in every single production,
How are we qualified to over come the risks and challenges?
Jane Franklin Dance has successfully been implementing a full season of concerts since 1997. Collaborative projects have received funding in multiple years from the Virginia Commission, the Alexandria Commission, and the Arlington Commission for the Arts, American Composers Forum – Washington DC Chapter and from foundations including Arlington Community Foundation and Washington Forrest Foundation. Jane Franklin is a recipient of the Community Foundation for the National Capital Region Creative Communities Initiative grant for a dance/video project inspired by round wall skateboarding. A kinetic sculpture dance, Incidence, was presented by Mead Theatre Lab, a project of the Cultural Development Corporation. Jane Franklin received a Special Opportunity Award for a public art project for the City of Alexandria, the American Association of University Women Elizabeth Campbell Award for the Advancement of the Arts in Arlington, and her video work was selected for PHOTO/VIDEO 13: Juried Mid-Atlantic Exhibition at Artisphere.
Tom Teasley is an experienced professional with a track record of substantial contributions to world music. Tom Teasley, described in the Washington Post as “a percussionist in the widest and most exuberant sense of the word,” maintains a unique career as a solo percussionist, composer and collaborator. A 2010 and 2011 Helen Hayes Theater Award recipient for outstanding sound design, Tom tours frequently throughout the world performing and presenting clinics for the instrument companies he endorses including Yamaha, Vic Firth, Sabian, Remo, Latin Percussion and others. A three-time recipient of a Fulbright-Hayes grant for performances in the Middle East, Tom collaborated with indigenous musicians and gave historic performances in Bahrain, Iraq, Saudi Arabia, the West Bank and Jerusalem.
Why this project is up on Kickstarter?
As access to government and foundation support has become more and more limited, we have had less to budget for new projects. We are asking kind individuals to help us develop and produce this new project. Without this support, it is difficult to go beyond the immediate deadlines just because of looking for the most cost effective way to do things as the main priority.
So why is it important to get this piece rolling? Our eventual goal is to produce an educational component, online or digitally, that would highlight the creative process of collaboration. Performance is ephemeral, and though we we will document the work in all of its stages, we want to compile all of the work in such a way that it has a shelf life beyond a specific performance on a particular date.
This is the desire to make things no matter what, to 'leave a mark' or find permanence in the ephemeral , transforming to fulfill a variety of tasks, shifting as is necessary, making use of what’s available, being successful or falling short, and most certainly relying on others to help a project get off the ground.
- (53 days)