Revised

Guest Artists are arriving soon and need to know the what, when, where, and who of the first COMPASS rehearsal weekends. I was sent a Visitor Pack for guest artists that gave general information about the area, Sadler's Wells, travel, and emergency info while the guests are here. It did not, however, contain any information about the COMPASS project specifically. With self-initiative, I decided to create a document with the weekend schedules and a brief look at the next few weeks. As a new comer to the project, I thought it might be a very useful overview and helpful for a guest to feel like they know where and what they are doing in order to anticipate the time they would need in the creative process. Perhaps it was a way for me to understand the project a little better myself.

After getting a thumbs up from Rachel, I created 4 documents that held the specific details for each choreographer. We did not consult Jane as we thought it would be an informational doc. that would be needed. Jane did not like it, or see the need, as she had already been in direct contact with the artist telling them what their schedules would be. I should never forget who's ultimately in charge.... Jane.

Creative Privacy

One thing I have discovered so far, while working with COMPASS, is the different management styles of Jane and Rachel. It seems that an understanding between Jane (the creative producer) and Rachel, that I would be assisting Rachel with the logistics and assistance under Rachel's guidance/wing. This is fine by me. At this point it is helpful having very clear projects to work on and develope such as participant packs, details about hotels, area maps, and schedules.

However, eventhough Rachel is very clear with what I can help with, it doesn't always match up with what Jane is doing. Jane, as the creative director/producer of Compass, has more creative and artistic control. She also has more contact and a relationship with the choreographers and artists during the process. She is very private with some of these creative conversations and we (Rachel and I) don't always know if something is changing. What this allows her to have is a close connect with the project and to make sure that her vision is fleshed out as she initiates and envisions. This creative process is wonderful and opens up new possibilities for the project. However, what this means for the logistic side of things, is that details, artist processes, and projects/wkshops are constantly in flux... and some we don't realize are going to be changed. This makes it difficult to book accomodation, travel, and studio space (MY responsibility) in order for the theoretical to flourish into the physical reality of Compass.

All artistic conversations and decisions come from Jane only. All logistics come from us...

Scheduling play-by-play

There are so many details and information that is in play at this point... and they all seem to be on different documents. Rachel, Kirsten, and I sat down and went over day-by-day, artist-by-artist, studio space-by-space in order to wrap our heads around the schedule, where the problems might be, and where we need further information. This was EXTREMELY helpful. Kirsten, who is leaving, has been working on this Compass Project for a few months and knows the project inside and out. Rachel and I are being thrown into the mix and responsible for understanding, coordinating, and fascilitating the schedule. So, with the wealth of knowledge within Kirsten's brain leaving us in a few short days, it was important to have the session, although painfully slow and detailed.

Slow and detailed wins the race...

Group Meeting

Gathering in the Sadler's Cafe all 8 of us circled to discuss the updates of the week and future planning. I've been to staff meetings before, but this was different. Jane Hacket and Fiona Ross, the Connect Dept. heads, were leading the discussion. Jane started the meeting with a reminder and a new idea of running the meetings from then on. In the weekly team meetings, in order not to be distracted by the details and the 'knitty-gritty', each project is to be explained/introduced in an 'overall' voice. This new approach is to attempt to retain the true meaning and goal of the project rather than being buried under and dictated by the minute details of the day-to-day. I like this approach. So many times we can get lost in the schedules, papers, names, times, contact lists, dates, etc that we forget about the true message, benefit, inspiration, and education of all of our efforts can achieve.

I like this tactic. Even in the team meetings, the way we discuss projects is different. This allows much more creative freedom and process which ultimately develops a stronger team and better project outcome.

Schedule tea-party

Ever wonder what one of the most frustrating things is? Well, it the shifting sands of a schedule. Why is it that working with dancers is like being invited to the Mad hatter's Tea Party?

Without knowing when choreographers can come in to teach and start the collaboration process of Compass, one cannot reserve and research accommodation. Ah, well... Crack on.

Created a spread sheet, contact list, and pricing for 7 different hotels/apartments, for 5 different guest artists, over 8 weekends each with different needs.

Day 3- Meeting Celebrities

That's right. The perks of the internship is that you get to meet amazing people in the dance world nearly every day.

Today I met:

Company of Elders
"is the jewel in the crown of the theatre's Connect programme. Drawn from the local community, this group of 25 performers discovered dance late in life and now enjoy the immense social and physical benefits of dance."

Watching these elders is like getting a shot of 'happy' in your arm. Very inspiring and shocking. It is surprising to watch this class because they are very commited to the movement and the intention of the class. For one dancer, they appreciate this company because rather than being treated like the 'motherly' figure amongst younger dancers, they are treated as equals rather than seperated by age. This aspect and age-discrimination is little spoken of. Company of Elders is a place to discover a 'new life' and expression.

Another aspect that took my breath away was how rambunctious the dancers were- They were absolute Trouble. Really! Just like teen-agers. It was both shocking and wonderful to see elders truly embrace 'movement' and 'play'. One of the best and more mischievous company members were the men... MEN! Every man in the class were fighting over who would be infront. Some of them, you could definitely tell, they were trained dancers... No amount of wrinkles could take away the grace and poise of a true dancer... Left their company with a smile on my face.

Also... fantastically I met... MATHEW BOURNE!

He was giving a lecture for the company of Elders art lecture series every friday. He was able to instruct and show some of his films and history. He is a wonderful, generous, and humble man. He discussed his upcoming premier 'Sleeping Beauty' and gave a brief outline of his unique take on the traditional score and storyline. I CAN NOT wait for this production!

Thank heaven for BOURNE SEASON at Sadler's Wells 2012!

Day 2- Compass

First meeting for the project I will be helping to produce: COMPASS

So thrilled! A Project! And one of the most interesting and intricate productions of the season.

Similar to their inaugural event Sum of Parts, Compass will include 5-10 choreographers, 1 writer, 1 film maker, 2 composers, and 150 performers of all different abilities from age 9-90 years. This is incredible! Can't wait to be part of it. Compass promises to be very rewarding.

First assignments:
Find/research accommodating for all guest choreographers
Update schedule- readable for all the admin
Organize a contact list for all creative team and participants

How I'm going to do that- well, we shall see...