Meet The Legible Bod(ies)

The Legible Bod(ies) will perform a solo piece titled NarcissUS  on April 30th at HATCH.  Read more about The Legible Bod(ies) below…

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Choreographer bio

Noel makes dance happen. She holds her BA in Dance and Biology from Goucher College where she worked with artists including Miguel Gutierrez, Kathleen Hermsdorf, Sara Pearson and Patrik Widrig. Noel continues her education through workshops and master classes in NYC and at festivals throughout New England. She is on faculty at Elms College and the Artistic Dance Conservatory, specializing in contemporary jazz technique. As a guest artist, she has enjoyed teaching and creating work for The Williston Northampton School, Shadows Dance Art Experience, Westfield High School, The Loomis Chaffee School, and the NCAA Elite 8 Dance Team among others. She is also the coach for the Elms College Dance Team and Founder/Director of the the Elms College Community Concert for Charity. As a dancer for Eclipse Dance Company, Noel has performed throughout the Northeast at events including the Boston Contemporary Dance Festival, Plymouth State Dance Premier, and the Brooklyn Dance Festival. Her first project as Artistic Director, The Legible Bod(ies) made its performance premier at the 2014 Southern Vermont Dance Festival. When not in the studio or on stage, Noel enjoys bringing the art of dance to Western Mass audiences as Board Member of the Massachusetts Dance Festival. Through her work, Noel has brought dance performances to events large and small, broadening community appreciation for dance and expanding the role of dance as a tool for social and cultural change. You can keep in touch with Noel and learn more by visiting noelstjean.com.

 

Dancer bios

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Marissa Chmiel began dancing at the age of three at Dance Workshop in Ludlow, MA. Upon entering high school, she began studying at the New England Dance Conservatory in East Longmeadow, MA with Kennneth Lipitz and Shelley Ziebel in the Conservatory’s Company, known as the New England Dance Theater, and in their Pre-Professional Company with concentrations in ballet, pointe, and modern dance. As an undergrad at Elms College, Marissa began dancing with the Elms College Dance Team (ECDT) with Noel St. Jean-Chevalier as Coach and Choreographer. During her last two years of ECDT, Marissa took on the roles of Rehearsal Captain and Team Captain. Marissa graduated with a Bachelors of Science in Nursing and currently works as a Registered Nurse. Marissa also dances with Eclipse Dance Company and is very excited to begin a new journey with The Legible Bod(ies)!

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Jennifer Roy grew up in Ellington, Connecticut where she attended a local dance studio for 15 years. While there, she studied all forms of dance, performing competitively and receiving awards for her work in contemporary dance. She was also a member of the Ellington High School Dance Team and worked as a student instructor, inspiring young dancers and assisting with classes. Jennifer is currently a freshmen at Elms College studying Communication Sciences and Disorders. She continues to feed her passion for dance as a member of the Elms College Dance Team and as the newest Bod(y).

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Haley Zdebski is a Connecticut native, who graduated Magna Cum Laude from SUNY, The College at Brockport, with a BFA in dance in the Spring of 2014. Haley has had the pleasure of working with the Bill Evans Dance Company, Mariah Maloney, and Shelley Ziebel. Haley attended the American Dance Festival on full scholarship in the Summer of 2013, where she reconstructed and performed Merce Cunningham repertoire. She also worked at the Bolshoi Ballet Academy Summer Intensive 2014-2015. Currently, she works as a teaching artist and ensemble member for the Judy Dworin Performance Projects, and a company member of DancEnlight under the direction of Lorelei Chang. Haley is the Assistant Director of Figments Youth Dance Ensemble out of Hartford, CT. Over the last few years, she has performed her own work at various venues in New York and in Connecticut. Haley also works at the Ethel Walker School, Stafford Academy of Dance and EdanSe Company and Ballroom.

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Why is it helpful to present a work in progress?

Feedback and growth are essential to the choreographic process. Presenting this work in progress will allow me to asses the audience’s perspective and understand if my work resonates with the viewer. One of my goals as a choreographer is to use the body as a tool to convey feeling, story and experiences with my audience. As I strive to create art that achieves this goal, it is valuable to check in with my viewers and gain insight from their experience.

 

Who are the most rewarding dancers for you to work with and why?

Open dancers make my work possible. I don’t always need a studio full of the most accomplished technicians or the the most physically cohesive troupe. I just want to be surrounded by artists who are willing to take risks, be vulnerable, and who trust in the process. As evidenced by our company members, no two movers are alike, and I think that fact, combined with their collective willingness to explore, makes for a rewarding creative experience.

 

Why is it important to present this piece of choreography to audiences in NYC?

I think oftentimes NYC is viewed as a mecca for dance. Many great artists create and show their work here. Audiences flock here to see great art. Having the opportunity to feed from that energy is powerful. Additionally,  I am fiercely proud of my roots in Western MA. I think that there is a great emerging dance scene in the Pioneer Valley, and I hope to represent that community. Creating connections between the artists of NYC and Western MA can also offer great opportunity for artistic growth.

 

What should HATCH audiences look forward to in your work?

THRILLS! CHILLS! EDGE OF YOUR SEAT EXCITEMENT!

No, seriously though, I hope the audience is moved. I hope they connect with the dancers and the movement in some way that makes them glad they were there. I cannot assure that we will all have the same experience, but I hope we all enjoy it.

 

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Meet Buggé Ballet

Buggé Ballet will perform a solo piece titled Winter to Autumn  on April 30th at HATCH.  Read more about Buggé Ballet below…

Nicole Buggé Headshot_photo by Samantha Lawton

Choreographer bio: Nicole Buggé holds an MFA in Dance from NYU and a BFA in Dance and Choreography from VCU. Nicole has performed with numerous companies including Richmond Ballet, American Repertory Ballet, Exit 12 Dance Company, and in original works by Deborah Jowitt, Cherylyn Lavagnino, and Sydney Skybetter. Internationally, she has performed in Scotland and Italy.  As the Artistic Director for Buggé Ballet, her choreography has been performed at The Edinburgh Fringe Festival, Breaking Glass: The Emerging Female Choreographers Project,  Lincoln Center,  Bryant Park, with One World Symphony, and seen on WHYY PBS Friday Arts Series as part of Rider University’s Emerging Choreographer’s Competition. When she’s not on stage or in the studio Nicole can be found working as the Media/Publishing Manager for Dance Magazine.

Hannah Foster_photo by Sharon Gillum

Dancer bios: Hannah Foster grew up in Northern California where she trained at San Francisco Ballet School on scholarship. She graduated with honors from Skidmore College, earning her B.A. in English Literature with a concentration in creative nonfiction writing. Hannah then danced with Boston Ballet as a trainee for its 2013/14 season and later joined Orlando Ballet as a second company member. Her repertoire includes professional roles in San Francisco Ballet, Boston Ballet, and Orlando Ballet productions.

Hannah is currently an assistant research editor for Dance Media publications in NYC and is delighted to be creating work with Buggé Ballet.

Why is it helpful to present a work in progress? It is important to get a piece out of a studio and assess how it is received by an audience. As choreographers, we are often see the movement from only our perspective. Presenting our work in progress allows us to obtain objective feedback. Understanding audience reactions is helpful to develop the piece.

 

Who are the most rewarding dancers for you to work with and why? I enjoy working with dancers who are eager to perform, willing to engage with the audience and hungry to grow as an artist. Working in the studio with energized dancers is important to the choreographic process. As a company we place a premium on dancers who are excited to work on new pieces and engaging of their audience to bring the movement alive. This makes the process enjoyable for everyone involved.

 

Why is it important to present this piece of choreography to audiences in NYC? Presenting this piece to sophisticated audiences that can be found in NYC allows me to obtain understanding and feedback on the work. Winter to Autumn is part of a larger vision, an evening length performance, and interacting with NYC dance audiences provides me with the opportunity to see how my vision is seen.

 

What should HATCH audiences look forward to in your work? Audiences will be excited to see quick pointe work with syncopated heads and complicated arm patterns all executed in an up beat tempo. These allegro steps are contrasted with an adagio section where the soloist ballerina challenges the slower music pace with longer balances and leg extensions.

 

Meet Mjean Dances

Mjean Dances  will perform a solo piece titled Feeling This  on April 30th at HATCH.  Read more about Mjean Dances  below…

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Choreographer bio:

Marissa Jean, a New York native, started her early training through Broadway Dance Center’s Children & Teen Program. From there, she became a member of their Arts In Motion Company where she got to perform at such events such as the Macy’s Thanksgiving Day Parade, The Today Show, and the Kids Cafe Festival. She had the opportunity to train and perform works by Frank Hatchett, Tracie Stanfield, Heather Adzima, Chio, Ms.Vee, and Pam Chancey.Marissa continued her studies at The New School and received her B.A in Dance under the direction of Neil Greenberg. During her years there she performed in works by Karla Wolfangle, Joao Carvalho, Take Ueyama, Ori Flomin, Ana Sokolow, and the Trisha Brown Dance Company.Upon graduation Marissa began working at various studios across Queens and Long Island. She has performed professionally with Long Island Dance Project, Community Dance Project, Cedan Dance, Michelle Duvall Dance Collective, and Stefanie Nelson Dancegroup. She was given the opportunity to perform at The Hatch, Center for Performance Research, Ailey Citigroup Theater, Triskelion Arts, Dixon Place, and for the Biomorphic Dance Festival. In addition to dancing, Marissa is currently the Program Coordinator for an international dance program called Dance Italia.

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Dancer bios:

Brittney Salerno– Brittney has been dancing since the age of 2. She currently studies various genres of dance at North Shore Studio of Dance in Long Island, NY. Her performance credits include Heckscher Park, Fox Hollow, Southside & Huntington hospital, Downtown Disney & Universal Studios. She is very excited to be performing for the first time in NYC.


Questions for the blog-

Why is it helpful to present a work in progress?

A work in progress is something that’s fresh and new. It has room to grow and develop into something deeper than you originally thought. Presenting a work in progress is for me expressing a thought, it’s valuable to me as a choreographer so I can show a work that is in the beginning stages and then see where it can take me.

 

Who are the most rewarding dancers for you to work with and why?

A dancer that can bring my thoughts and ideas to fruition is a dancer that I feel fortunate to work with. Their personality and dedication emulates into the piece, which adds something more than just steps. The dancer understands all the details and are particular in the way it is carried out.

 

Why is it important to present this piece of choreography to audiences in NYC?

Considering this is my first debut work in NYC, I find it very important to gain different perspectives from people in different walks of life. These audience members can look at something that is fresh and add valuable critiques and viewpoints that can make me look at my piece from a different angle.

 

What should HATCH audiences look forward to in your work?

I like to create work that is fluid and very clear with gestural accents. The performance takes you on a journey but to be interpreted as each audience member sees fit. This piece is constructed around a world that is unsettling. It has an eerie sensation but slightly comforting to see how the dancer navigates through it.

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Meet Kailey McCrudden

Kailey McCrudden  will perform her group piece titled they’re there their  on April 30th at HATCH.  Read more about Kailey  below…

Choreographer bio:

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2014 Diamond Research Scholars Grant recipient, Kailey McCrudden fostered a love of dance and football in upstate NY. She received a BFA in dance from Temple University in May 2015, summa cum laude, performing in works by Andrea Miller and Larry Keigwin, and studying under Kun Yang-Lin, Jillian Harris and Merian Soto while there.  Now a NYC based choreographer and dancer, Kailey’s work has been performed at the Green Space, BAX, Philadelphia Fringe Festival, Inhale Performance Series, ECT Performances Series, Triskelion Arts, The Hatch Series, and Bates Dance Festival New Works Showcase.  She has studied with Bill T Jones/Arnie Zane Dance Company, David Dorfman Dance, Nancy Stark Smith, and Stephan Koplowitz. Kailey is currently a scholarship student with Jennifer Muller/The Works and dances for Sydnie L Mosley Dances. Her work has been commissioned by Nacre Dance Company and Ballet Forte. Most recently, she premiered her new work BS as a part of Triskelion Arts Split Bill. Kailey allocates her free time to absorbing as much sports knowledge as possible.

Dancer bios:

Maggie Beutner is from Denton, Texas and graduated with a BFA in Dance from University of North Texas. While in school, she performed in works by KihYoung Choi, Amiti Perry, Ana Sokolow, and has taught and choreographed extensively across Texas. Since moving to New York, she has danced with Awakening Movement, Kailey McCrudden, and is a company member with The Moving Architects. She currently resides in Brooklyn and spends her Sundays seeking out a good donut.

 

Sarah McWilliams lives and works in Philadelphia, PA as a dancer and dance instructor. From September 2015 through January 2016 Sarah trained in Israel with the Kibbutz Contemporary Dance Company as a member of the International Dance Journey Program. While in Israel, Sarah had the privilege of performing in works by Rami Be’er, Martin Harriague, and Mats Ek (restaged by Yamit Kalef). Prior to studying in Israel Sarah received her BFA in Dance from Temple University. Currently, Sarah dances for choreographers Kailey McCrudden in New York City and Belle Alvarez in Philadelphia. Alongside being able to dance every day, the keys to happiness in Sarah’s life come from eating endless amounts of Reese’s Cups and watching Dirty Dancing on repeat!

Stephanie Grover is a freelance dance artist based in Brooklyn, NY. A proud native of Woburn, MA, she graduated Magna Cum Laude and Phi Beta Kappa from Hofstra University with a BA in Dance and two B.S. minors in Exercise Science and Forensic Science. At Hofstra under the direction of Rachel List, Grover performed in works by guest artists David Parker, Doug Varone, Sean Curran, Terry Creach, Fritzlyn Hector, Jody Sperling, and Cathy Young. In July of 2013, Stephanie was blessed to perform a solo in the Florence Dance Festival through the Toscana Dance HUB program choreographed by program director Giada Ferrone, as well as in group works by Jennifer Chin, Arianna Benedetti, and Piero Leccese. Since graduation, Grover has performed with the New York Baroque Dance Company in an Opera Lafayette Rameau production at the Kennedy Center in Washington, DC and the Rose Theater at Jazz! at Lincoln Center. She works as a guest artist with David Parker and the Bang Group, performing at the Institute for Contemporary Art and the Dance Complex in Boston, as well as the 92nd St. Y, The Yard at Martha’s Vineyard, and Rutgers University/Mason Gross School of the Arts. She also actively performs as one of the founding company members of KaKe Dance, Neshamah Dance, and Vector Dance Co./Martha Lavery and has also been seen as a guest artist in works by Kailey McCrudden, Hysterika Jazz Dance, Anna Hillengas-Troester, appearing in various festivals at venues including Dixon Place, Triskelion Arts, the Center for Performance Research, Peridance Capezio Center, Greenspace, BAX, and Gowanus Arts, among others.. In addition, Stephanie currently works both as a dancer and as an administrative assistant for Robin Becker Dance, most recently traveling with the company to Vietnam with their evening-length work, Into Sunlight. You can find Grover either busting out random inversions or drinking lots and lots of Dunkin Donuts coffee–all day, every day.

Why is it helpful to present a work in progress?

So often bogged down in the midst of the choreographic process it becomes difficult to see your work with a fresh set of eyes the way an audience member would. Showing work in progress is a platform to get that feedback in order to further develop your work, craft and experience.

Who are the most rewarding dancers for you to work with and why?

The most rewarding dancers to work with are those who truly know who they truly are and will bring that maturity to the process and into my work; dancers who have willingness to experiment and never be satisfied. A dancer who can embody my ideas and movement without trying to simply mimic me, brings a greater sense of authenticity and humanity to the work.

Why is it important to present this piece of choreography to audiences in NYC?

In addition to expanding my audience and connecting with people interested in my work and process, this piece is relevant to where our society is currently situated.

What should HATCH audiences look forward to in your work?

Audiences should look forward to recognizing and thinking critically. If just for a moment, questioning the embodiment of the human experience at large.