Featured Choreographer- Sarah Wingfield
You will definitely want to read below. We have a great, informative interview with student choreographer Sarah Wingfield!
What are you working on in choreography class at the moment?
I am currently working on developing one solo, and guiding two other solos based around a concept of self as a constantly changing curation of identity, dance as a curated collection of movements, and the idea that somethingness and nothingness are two sides of the same coin in a cyclical dance of mutual creation. These all reflect the Highland campus in that ACC is having to carefully curate their new definition of the geological location, and when considering the past it had been a mecca of education in the Austin area and has returned to such a role in the current Austin area community.
This year’s showcase is site-specific. What does that mean for you?
Site specific means so very many things. This semester I am taking into account the historical context of the site while listening to what my creative instincts are driving me to work on. Usually when given such a juicy site I will delve into dancing with the architecture as if it were a partner in a contact duet, giving and sharing weight. This particular piece has brought me to the understanding that, on occasion, traditional theatre spaces may be the best way in which to present specific works. Because this space is so new, and because I spent so much time in the other studio, I am taking the time to let myself become familiarized with this particular studio. This is where my piece lives this semester.
Tell us about a choreographer you admire.
I truly admire many local choreographers for all their uniqueness, but one of my particular favorites is Sidi Larbi Cherkaoui. He has an incredibly unique vocabulary and stunning performances. I'm pulling a little inspiration from his noodly style for the beginning of my solo. Another choreographer I love is Ellen Bartel; her work is influenced by somatic practices, and is often driven by a deep connection with the community around her along with very personal relationships. She also developed her thesis around Site Dance, and has taught me quite a bit about the nuances of such a field of work. I can't leave out Darla Johnson, who is also a heavy influence on my choreographic style. She promotes an inward gaze that is impartial yet curious, and is always quick to explore interdisciplinary media.
Can you tell us about your piece in the showcase?
My piece for the showcase is influenced by many years of different studies. During my undergrad in Anthropology I studied the nuances of collection and its connection to identity creation and formation, along with the ethics of curated display of collection. Philosophical studies aided in the study of identity formation and their connection to aesthetics. I am currently navigating a new, shared home life, which is bringing with it a keen awareness of the two separate collections of miscellaneous art, furniture and other such items, and their new identity as one. These are all influencing my choreographic intent, along with the culmination of several years of seemingly random study.
How do you approach choreography? (Or how did you approach this piece?)
I used to jump right in. The mirror was my biggest tool other than the body and my creative drive. Since the beginning of my studies in dance at ACC (5 years ago - off and on) I have developed a new choreographic process. This process is heavily research based and involves quite a bit of writing and ethnographic observation beforehand. The actual act of setting choreography is based in improvisation. At this particular moment in my practice, I am attempting to avoid set choreography, though I do understand its importance in carrying out some choreographic visions. I do utilize set choreography while maintaining a mostly score-based improvisational workflow and performance type.
Why should people come to the show?
Because the site is so particular, and it is a site dance, the audience will literally not be able to see anything like it anywhere else. We have such a diverse group of ladies creating work this semester that each piece is incredibly unique and thought provoking. From the studies we've shown so far, it looks as though there will be a little slice of everything in this performance.
What advice do you have for someone interested in studying dance?
My advice for the interested dance study: tell your mean voice to take a hike, it won't help you get anywhere. If you're interested in something, dive in no matter what. I will also say that finding the right niche, the right teachers and mentors, the right group of people to support your education can be a difficult road, but it will always be fruitful in the end. Even if you find yourself in the wrong place along the way, you've at least found a way to narrow down your field of study. Another also statement: find a way to soak up information of all kinds, it will only bolster your work and help you find your stronger voice. Also also: Ballet is not the only way (a lesson too often learned too late).
What are you working on in choreography class at the moment?
I am currently working on developing one solo, and guiding two other solos based around a concept of self as a constantly changing curation of identity, dance as a curated collection of movements, and the idea that somethingness and nothingness are two sides of the same coin in a cyclical dance of mutual creation. These all reflect the Highland campus in that ACC is having to carefully curate their new definition of the geological location, and when considering the past it had been a mecca of education in the Austin area and has returned to such a role in the current Austin area community.
This year’s showcase is site-specific. What does that mean for you?
Site specific means so very many things. This semester I am taking into account the historical context of the site while listening to what my creative instincts are driving me to work on. Usually when given such a juicy site I will delve into dancing with the architecture as if it were a partner in a contact duet, giving and sharing weight. This particular piece has brought me to the understanding that, on occasion, traditional theatre spaces may be the best way in which to present specific works. Because this space is so new, and because I spent so much time in the other studio, I am taking the time to let myself become familiarized with this particular studio. This is where my piece lives this semester.
Tell us about a choreographer you admire.
I truly admire many local choreographers for all their uniqueness, but one of my particular favorites is Sidi Larbi Cherkaoui. He has an incredibly unique vocabulary and stunning performances. I'm pulling a little inspiration from his noodly style for the beginning of my solo. Another choreographer I love is Ellen Bartel; her work is influenced by somatic practices, and is often driven by a deep connection with the community around her along with very personal relationships. She also developed her thesis around Site Dance, and has taught me quite a bit about the nuances of such a field of work. I can't leave out Darla Johnson, who is also a heavy influence on my choreographic style. She promotes an inward gaze that is impartial yet curious, and is always quick to explore interdisciplinary media.
Can you tell us about your piece in the showcase?
My piece for the showcase is influenced by many years of different studies. During my undergrad in Anthropology I studied the nuances of collection and its connection to identity creation and formation, along with the ethics of curated display of collection. Philosophical studies aided in the study of identity formation and their connection to aesthetics. I am currently navigating a new, shared home life, which is bringing with it a keen awareness of the two separate collections of miscellaneous art, furniture and other such items, and their new identity as one. These are all influencing my choreographic intent, along with the culmination of several years of seemingly random study.
How do you approach choreography? (Or how did you approach this piece?)
I used to jump right in. The mirror was my biggest tool other than the body and my creative drive. Since the beginning of my studies in dance at ACC (5 years ago - off and on) I have developed a new choreographic process. This process is heavily research based and involves quite a bit of writing and ethnographic observation beforehand. The actual act of setting choreography is based in improvisation. At this particular moment in my practice, I am attempting to avoid set choreography, though I do understand its importance in carrying out some choreographic visions. I do utilize set choreography while maintaining a mostly score-based improvisational workflow and performance type.
Why should people come to the show?
Because the site is so particular, and it is a site dance, the audience will literally not be able to see anything like it anywhere else. We have such a diverse group of ladies creating work this semester that each piece is incredibly unique and thought provoking. From the studies we've shown so far, it looks as though there will be a little slice of everything in this performance.
What advice do you have for someone interested in studying dance?
My advice for the interested dance study: tell your mean voice to take a hike, it won't help you get anywhere. If you're interested in something, dive in no matter what. I will also say that finding the right niche, the right teachers and mentors, the right group of people to support your education can be a difficult road, but it will always be fruitful in the end. Even if you find yourself in the wrong place along the way, you've at least found a way to narrow down your field of study. Another also statement: find a way to soak up information of all kinds, it will only bolster your work and help you find your stronger voice. Also also: Ballet is not the only way (a lesson too often learned too late).
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