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...

Day 1

Intro to the next few months and all preliminary jargon. This is frustrating. I want to immediately want to jump into a project, but need to be patient and research/understand/inhale the new surroundings. I also need to show that I can calmly fit in and assist, rather than bully my way in.

I've noticed that this department is organized, calm, and steady. There seems to be a constancy rather than stress... "no need to spin. That wastes time. Just crack on..."

They show me a few videos of some of the paste performances, programs, dance companies and events they have produced. Especially with dance, video and images tell you more instantly than reading words like 'inspiration', 'access', 'innovation'... you can just see it, understand it, and then crack on.

Although watching these video clips was inspiring and informative, they had a strange effect. I was in tears a few times. They reminded me that I wasn't dancing and how much I miss being a performer. These emotions came very intensely and made me want to refuse this opportunity... as if, by studying/working this capacity, would inhibit my performing career and future.

Welcome to Sadler's Wells

After my interview, I wrote a very nice follow-up email to Fiona and Jane and they responded with positive news:
"We would like to offer you a placement in the Creative learning department"

Fantastic News!!

After some of the preliminary papers, schedules and dates were squared away, we decided that I would assist the department 2 1/2 shifts a week.

Jump for joy! I went and saw Mathew Bourne's 'Nutcracker!' that night to celebrate.

I'm in. I'm part of it now! Coming to London and leaving my family and loved ones has just been proved worth it.

Interview at the dream internship placement

So thrilled to be invited for an interview with the Creative Development team at Sadler's Wells. This would be the ideal placement!

I wasn't sure what they were going to ask me. I was prepared for everything and, unfortunately, felt completely UNprepared instead. One of the questions they asked during the interview was 'Would you rather working on a project that widens your skill set, or increases the skills that you already have?' This question baffled me. In my classic 'Tanya' behavior, I diplomatically argued on both sides not knowing what these two beautiful interviewers were looking for. Fiona, the first to interview me, appreciated my lengthy response as it demonstrated that I could see the benefits, discussion, and thought process. Jane, the second interviewer, said, "Yes, you debated that quite well. But now I want to know the answer. Yes or No?" I gulped. She caught me. My flowery language, that can usually charm anyone, did not convince her. In the end, with quick decision, I answered that I would prefer to learn new things. Luckily enough, this was actually the truth. I'm hungry for being in the action and learning something new to bring with me as I develop my artistic career.

One and a half hours.... One of the longer interviews I've ever been on. I left nearly in tears- not knowing if I was up to par.

I wrote on a piece of paper when I returned home:

I want to work at Sadler's Wells
I want to continue creating artistic, creative, and personal dance works
I want to bring dance and performance to a variety of audiences
I want to meet influencial dance enthusiasts
I want to become an influencial artistic director
I want to work at Sadler's Wells

My enthusiasm during the interview paid off...