Earth Dances
By
Jennifer Clark Stone
Bachelor of Fine Arts in Dance from
Virginia Commonwealth University
A Culminating Paper submitted to
The Faculty of
Columbian College of Arts and
Sciences
of The George Washington
University in partial satisfaction
of the requirements for the
degree of Master of Fine Arts in Dance
January 31, 2013
Committee
Professor Maida Withers, Advisor
Professor Turker Ozdogan
Assistant Professor Kate Mattingly
Professor Maida Withers, Advisor
Professor Turker Ozdogan
Assistant Professor Kate Mattingly
Acknowledgements
Maida Withers
Kate Mattingly
Richard and Linda Clark
Dedicated to my
family Jason, River and Skylar Stone
and the community in Bluemont, Virginia
and the community in Bluemont, Virginia
Introduction
Contemporary modern dancer Jennifer
Clark Stone blended her love of the arts, ecology and community to present Earth
Dances on the evenings of October 20 and 21, 2012 at 6pm. This
evening-length, multi-media dance performance included dancers, and musicians
with original compositions. Singers, video projections and moving sculptures,
as well as local children and talent further supported this physical story of a
young woman seeking balance in the world.
This cast of families, including mothers, fathers, sisters, brothers and
cousins all performing together, fulfilled Stone’s dream of creating an evening
length work that traveled down the center of her village, with the friendly neighbors coming out to witness
and participate.
As Stone’s culminating project for her
Master of Fine Arts in Dance degree from George Washington University, Earth
Dances explored her love of this planet, its inhabitants, and their plight
in these changing times. The traveling piece began at Stone’s Bluemont field
and moved to the newly-renovated Bluemont Community Center before coming full
circle for refreshments at a plastic-free reception and post-performance
discussion around a campfire.
Open to the public, Earth Dances
was a truly unique experience for western Loudoun County. Although there was no
fee for attendance, a $10-20 donation for adults was suggested. Children of all
ages were welcome. 50 % of the proceeds were
given to the Blue Ridge Wildlife Center (www.blueridgewildlife.org), and the other 50% was given to Mission:
Wolf, a wolf rescue league in Colorado (www.mission:wolf.org).
The proceeds totaled $1688 over the two nights, and there were special
appearances by rehabilitated birds of prey from the Blue Ridge Wildlife Center after
each of the shows.
Choreographic Inspiration
After 25 years of dancing and
choreographing, alternating with directing environmental actions, Stone’s
passions, combined with her love of her adopted Bluemont community, were
brought together in Earth Dances. In
Andrea Olsen’s article “Dancing in a New Place,”
Olsen speaks about the mind-body connection, humans’ relationship to place, and
how dancers have a unique opportunity to share this interconnectedness with the
rest of the world.[1] After reading this article, Stone realized
she could finally bring her two passions together to create environmental
activist art. By utilizing what she
loves and understands the most, the moving expressive body, Stone was inspired to create an
evening length environmental action through art. She combined contact
improvisation, yoga, and contemporary modern dance techniques, in addition to
an exploration of moving sculpture and the integrated voice, with her deep
appreciation, respect and calling to protect the natural world,
In 2010, before Stone had begun
graduate school, she had been mentally paralyzed by the fear of climate change,
and needed to find a way to release her anxiety about this global reality. When
Stone was accepted into the fellowship program at George Washington University in
June of 2011, she realized this was going to be her chance to work through some
of this extreme fear. Stone first gathered intuitively, then more purposefully,
artful moments and community members to round out what would eventually become Earth Dances.
Earth
Dances provided a voice for
Stone as well as a voice for animals and those humans that live on the edge of
society; their voices are not often heard. Informed by her parents’ respect and
gratitude for the plant and animal world, Stone’s Earth Dances represented the wolf, the honeybee, the firefly, the
Red Cockaded Woodpecker, and the Loggerhead turtle, all animals whose
populations are declining. Inspired by
her alignment with Stephen Nachmanovitch’s ideas in Free Play, Improvisation in Life,
which speak about the inherent
creativity of all human beings,[2]
Stone brought together 42 community participants. These included 22 local community dancers (people
with limited dance experience ages five to 52), seven musicians, one actress,
eight local parents and children as production crew members, three professional
dancers, Stone’s soft spoken second cousin Tom Clark, and neighbor Alex
Pettit. Stone learned she found strength, security, and joy in her community
involvement, and so, similar to Native American cultures whose tribes use
rituals to work through hardships and to build courage,[3]
Stone gathered her community together to sing, dance, pray and celebrate the
Earth in a five month process including two nights of ritual performances.
Choreography and Performance Preparation
Luckily for everyone, October 20 and
21, 2012, in Bluemont, Virginia were two clear nights that weren’t too chilly. Audience
members gathered at a tent in the middle of a field nestled in the Blue Ridge
Mountains at 6pm each night, just before sunset, and for the most part Earth Dances unfolded as Stone
envisioned.
Pre Show Prayer and Walk
The performance began with the ringing
of the cow bell after a short pre-show prayer led by Stone. The purpose of the pre-show prayer was to draw
the performers’ focus inward, motivating them to connect purposefully to their
love for another human being, Saturday night, and to their adoration of a
creature of the Earth, Sunday night.
These dedications of the performances helped keep the cast’s perspective
focused on the larger picture and away from their nervous selves.
Then the cow bell was rung. The cast walked
together down Stone’s gravel driveway toward the audience members waiting in
the field, 20 community dancers dressed in white, two honeybees, the Red
Cockaded Woodpecker, Mother Earth, and Stone in a wolf-like costume. This group
walk set the tone of the piece. Its intention was to provide for the cast a
feeling of reassurance, safety in numbers, and encouragement, providing a ritual
for the performers, setting a rhythm and quality for the rest of the show. For
the audience, the purpose was to present a group on a mission.
Opening Speech
Stone began her opening speech. The
speech‘s intention was to inform the audience of what the evening entailed, the
path they would take, the restroom break, and to remind the audience to remain
quiet during the walking.
Stone told the audience that when she
first saw modern dance she had no idea what she was watching and felt ignorant
because of it. She told the audience that
they were not ignorant. Stone explained
that watching modern dance was like experiencing the mountains or the rivers
and streams. People do not judge, or
over-analyze nature, but they experience it with their bodies. She then talked
through a relaxation exercise to those that wished to participate, an exercise
that would help the audience turn off their over-analytical brains and allow
them to relax into their bodies. She asked them to relax their feet into the
ground, close their eyes, and listen to the sounds around them. Listen to their
breath. Stone told them that they would be led through the show by a guide, the
Red Cockaded Woodpecker, who would remind them of their breath.
Stone included these ideas because she
wanted the speech to educate her audience.
Most of the audience members had never seen contemporary modern dance,
and certainly not seen it performed outside in nature with walking between
sections. The speech was intended to prepare the audience so they would feel
more comfortable witnessing the show and be able to experience Earth Dances on a deeper level.
Red Cockaded Woodpecker, Mother Earth and the Bluemont Community Center
The Red Cockaded Woodpecker, Amy
Barley, a local actress, in her painted black and white face and wings, took
three deep breaths mimicking her breath with her arms, and the audience knew
her as their guide. Stone’s intention for the Red Cockaded Woodpecker’s role was
to have her take care of the audience, to guide them from place to place, and
to remind them of the quiet nature of this Earth
Dances ritual and of their breath. After the relaxation exercise by Stone,
the woodpecker demonstrated breathing deeply, turned and led a walking
meditation to the Bluemont Community Center, as musician Gina Faber rang the
Tibetan bells and the cast and crowd followed.
During this walking excursion the Mother
Earth figure, Anna Billman, dressed in brown and green, began singing her
original song, Collecting Stones,
which spoke about appreciating the miraculous moments of life. Musician Gary
McGraw joined in, banging in time on a metal watering can. Mother Earth’s
purpose was to create wonder and beauty for the audience, as this singing
woman’s outfit slowly increased in its decorations throughout the show. She too
represented a guide for the spectators, a figure that transported the audience
out of their everyday environment to a place more magical, with her costume and
mesmerizing voice.
The Red Cockaded Woodpecker and Mother Earth
escorted the audience through a grassy path, under a tree line, and over to the
chairs placed in front of the Bluemont Community Center next door. Creating a welcoming reintroduction for the
Bluemont Community Center was one of the motivations of Earth Dances. In September
2012, the center reopened its doors with its reconfigured structure, freshly
painted walls and a brand new addition. Earth
Dances for some was the first time reentering this building, a conscious
choice Earth Dances made to welcome
this center publically, in hopes that audience members would return to help
generate new income for this center.
Wave Section and Flight of the Honey Bees
The Wave section began with the dancers
dressed in white bubbling up over the stone wall, like a wave in an ocean. They
ran full speed toward the audience 40 feet in front of them, then rolled back
slowly, before a second wave of dancers rushed out. The gong accompanist, Faber, played a long
crescendo mimicking the increasing energy of the dancers. This wave section’s aim
was to create a wash of positive, tangible energy, connecting the viewers and
participants to their own pure joy of exertion and connecting them with the
similar explosive qualities in nature. This wave section’s purpose was also to start
off the dancing of Earth Dances on a
fresh clean canvas. The dancers running
and rolling provided a familiar movement vocabulary that prepared the audience
for more complicated movement and visual stimulation later in the show.
Out from the trees, as the second wave
of dancers retreated, four little boy honeybees dressed in black with yellow
stripes, and Skylar Stone, the director’s son, dressed in white with yellow
stripes, came scurrying out to The Flight
of the Bumblebee by Nikolai Andreyevich Rimsky.
This hurried, challenging music was performed
by McGraw, the woodpecker’s husband, on the violin, and Stone’s father, Richard
Clark, on cello. Stone’s motivation with
the honeybees was to honor and celebrate these important, endangered insects, in
addition to Stone’s desire to have local children, including her own, be part
of Earth Dances. The specificity of the music and costumes, along
with the increasing complexity of the dance: soloists, then duets, then
quartets, created a natural progression of delight and form, moving Earth Dances forward energetically and
artistically.
The Wooden Teepee Sculpture, Wolf
Talk and Alex Pettit
The third wave of dancers dashed
forward and then very slowly retreated, rolling through the grass, as Earth Dances introduced Brian Buck,
dressed in a wolf-like costume compatible with Stone’s, gray pants with a fake
furry gray top. Buck moved in carrying his teepee-looking sculpture over his
head, conjuring images of Atlas. The wooden teepee structure made out of found
sticks and twine provided a foreshadowing for the film to come, and represented
a place of safety and reverence for Buck.
As the dancers dressed in white took their place surrounding the two
trees just in front of the stone wall, Buck
set the sculpture down, and he and Stone crawled together to howl for the
beginning of Wolf Talk. Wolf Talk was a moving duet of love and
loss between humans, animals and the earth. Its intention was to share with viewers an experience of
being human that is more primal than human’s everyday way of existing in our
world. By exploring the physical qualities of dogs and wolves in movement, the
piece encouraged the audience to feel more connected to the animal world. With
McGraw on violin and Faber on percussion, the sun set behind the mountain top
as this physical duet, infused with the lifts, rolls, runs and jumps of contact
improvisation, began.
Wolf
Talk tipped the creative crescendo of Earth Dances thus far with more
intricate movement choices than had been performed before. After this joyous dance climaxed, it then
brought the energy down to a solemn place of loss, moving the story of Earth Dances forward.
As Buck silently howled, signaling Wolf Talk’s conclusion, Faber rang the
bells again. Alex Pettit, alone with his guitar, began singing “All I Ever
Wanted” by the Black Keys, the words speaking about a wish to be to be treated
with kindness. Pettit’s melancholy human delivery flowing up from the somber
ending of Wolf Talk linked the animal
and human kingdoms for the audience. His sweet and unique, sinewy voice was also
a special treat for Earth Dances. Because of his involvement with Earth Dances, his artful sound was
shared throughout the community and neighbors were able to acknowledge him for
his talent.
Creating a performance where the quiet beings, the ones who live on the edge of society, traditionally without a voice, have a voice, was a conscious intention of Earth Dances. Pettit, the woodpecker, and the audience walked together to the entrance of the Bluemont Community Center.
Creating a performance where the quiet beings, the ones who live on the edge of society, traditionally without a voice, have a voice, was a conscious intention of Earth Dances. Pettit, the woodpecker, and the audience walked together to the entrance of the Bluemont Community Center.
Gallery Walk, River of Trash and Plastic Sea Turtle Sculpture
Inside the Bluemont Community Center,
Stone displayed nature images by local photographers Diane and Mike Canney, on
two clothes lines, with the lines themselves held up by the young community dancers. Stone’s intention for the Gallery Walk, with
human beings holding up the nature pictures, was to demonstrate that it is the
responsibility of humans to take care of the natural world. Clark, playing The (dying) Swan by
Saint-Saens, added the cynicism Stone was looking for as well as the pointed
beauty. This simple walk through the
gallery continued Earth Dances’ unfolding
story of beauty and loss.
After the gallery walk, audience
members were handed bags of trash by the youngest community dancers, and then carried
the trash upstairs. There they were
instructed to throw the trash down on the floor, walk through it, and then take
their seats in the chairs. This section’s
purpose was to make people walk through their own garbage. To have them see and experience what it feels
like to walk through it, much in the same way the animals and the Earth
experience the plastic garbage that the humans leave littered on the land and
waterways. This section peaked people’s
curiosity, and began to set the stage for the River of Trash speech that was to
come.
As the audience walked through the
River of Trash, a huge floating sea turtle sculpture was being swayed and
supported by the adult community dancers.
Stone’s intention for the illuminated plastic turtle was to represent all
turtles and other creatures in the wild that mistakenly eat plastic for food or
get tangled in its unforgiving structure. Local sculptor Rosalba Negrete created
for Stone a sea creature that Stone filled with plastic, giving Negrete a new
home for the plastic playground in her yard that her children had outgrown. Stone
filled the sculpture with plastic that she and her neighbors had been saving
from their personal trash for the previous five months, a conscious choice,
inspired by the movie Bag it, Is your
life too plastic? [4]
to create awareness around Stone’s and her neighbor’s trash consumption. Like the Red Cockaded Woodpecker, the honeybees,
the wolf, and the firefly, the Loggerhead plastic sea turtle added to these
colorful, moving representations of wildlife that painted a real life collage
of the animal kingdom for the spectators to observe—more characters in Earth Dances’ story.
The River of Trash Speech
Once the audience had thrown the trash
down on the floor, the River of Trash speech took place: wearing a red dress, Stone—with
Buck as wolf—walked through the plastic River of Trash saying words similar to
these…
“I didn’t know that in the middle of
the Pacific Ocean there are “garbage patches.” These are huge amounts of
plastic that never go away, this plastic never truly leaves the planet once it
is created. Our plastic. I didn’t know.”
“I didn’t know that when scientists
find birds, dead birds on the ground and cut open their bellies, bottle caps,
our bottle caps, red, black, green, blue, white bottle caps come pouring out of
their bellies. I didn’t know.”[5]
“I didn’t know. I didn’t truly understand that what we do,
our choices that we make on a daily basis affect everyone, everything on this
planet. Our choices affect the
Loggerhead Turtle, the wolf, the honey bee, the firefly and even the Red
Cockaded Woodpecker. I didn’t know.”
The purpose of the River of Trash
speech was to educate the audience about the effects of humans’ actions on the
animal world, and to serve as a warning to the public of the horrible crimes
against nature that occur every day, but are not in most people’s daily consciousness.
LED Bicycle Powered Lighting
Next to the turtle sculpture were two
bicyclists on stationary bikes. The LED lights on the stairs and in this
upstairs room, as well as the half of the reception tent, were lit by bicycle
energy using an inverter and engineer-minded know how, led by master
electrician and family friend, Michael Cash. The stationary bikes were donated
by Stone’s boss Majic Kayhan of the Purcellville Sports Pavilion, and the
bikers were yoga students and local friends of Stone. Stone’s husband, Jason, was the bike director. The biking caused a high buzzing noise which
added to the soundscape.
Thrashed and the Red Cockaded
Woodpecker Extinction
As LED hand-held lights moved from
Stone in the River of Trash to the Red Cockaded Woodpecker, a third character,
Megan Thompson of the Jen Stone and Megan Thompson Dance Project, appeared in
the space. Thompson, slowly wrapping herself in plastic, began the Thrashed dance as Stone then sang,
almost a lullaby, “Little Birdie Little Birdie, what makes you fly so high. I’m
a free little bird; I do not care to die.” The intention of Thrashed was to represent either a personal struggle that can’t find a resolution or a global disturbance
yearning for attention. Thrashed bore
witness to those caught in the storm. At the end of Stone’s repeated verses, Thompson
flung herself through the space, banging against the ground again and again to
the rapturing percussion of musician Dale Lazar’s eclectic pounding. Stone
plunged into the dance. As the women thrashed through space being tangled and
caught in the plastic, Thrashed served
as a culmination of intensity and agony, an energetic peak of Earth Dances’ story.
Once the bicycle-lit lights faded on Thrashed, the lights came back up on
three young community dancers and the woodpecker standing on the stage. The girls held up another clothes line which
had attached to it five duplicate pictures of the Red Cockaded Woodpecker. One
girl, River Stone, the director’s daughter, walked by the string of hung
pictures and released them one by one, representing extinction’s path. The
audience watched as these photos floated down to the floor below. Just as the last photo was about to be
released, the silent woodpecker took the photo and embraced it. This moment, in almost quietness, provided a
denouement for the unveiling story of Earth
Dances.
The Bike Spotlight and Tom’s Hunting Story
After the woodpecker embraced its photo,
the audience’s focus then turned to the bicyclists. The bikers stopped biking
and the lights went out, for a moment it was dark and silent with no buzzing
noise. Then the bikers got back on the bikes and the lights turned back on and
the buzzing began. This task-oriented moment
demonstrated that the upstairs light source of electricity derived from these
bikers’ endurance. In the flow of the work, this section created an emotional
break from the story.
The audience was then led down the LED-lit
stairwell by Mother Earth, where Tom Clark, Stone’s second cousin, told a
hunting story. Stone’s purpose for the hunting
story was to demonstrate one man’s ability to restrain from killing a
magnificent creature even in the face of hunger. The story related to human’s
ability to decipher hunger from indulgence, an ability, Stone believes, that is
limited in western contemporary culture.
If the opening speech was the foreword, and the
walking meditation, the introduction, the section encompassing Wave through the
Red Cockaded Woodpecker’s extinction was chapter one, “the unconscious path.”
Tom’s undecorated story-telling section acted as the beginning of chapter two
of Earth Dances, “the road to
enlightenment.”
The Red Cloth, Remember, “It’s
Our Turn to Take Care of the Earth!”
After Tom’s hunting story, the dancers dressed
in white began to hum Peaceable Kingdom
by Adrian Belew, as the woodpecker lead the audience outside. Mother Earth
handed the first audience members a long red strip of cloth. The purpose of
handing out the red cloth for some of the audience to hold was the red cloth represented
a universal umbilical cord, a symbol that this group of people shared the
predicament of living on planet Earth together. The audience followed the
woodpecker to stand outside and waited for the movie Remember to be projected on an outside wall.
Stone’s
intention for the film Remember was
to demonstrate man in his natural environment and his responsibility towards
it. Similar to Stone’s intention for Wolf Talk, the
film’s purpose was to share with its viewers
an experience of being human that is more connected to the Earth than most of
western society appears today. It began with early man, played by Buck in his Wolf Talk costume, inside of his previously
introduced teepee structure. Then it transitioned to Buck today, in his suit
and briefcase, and included themes of a sense of loss rooted in the transition. This two- dimensional film experience was
amplified on the side of the Bluemont Community Center wall. On a cold October
night, it provided some wonder and nostalgia as audience members huddled,
standing together looking up at their drive-in movie.
A portion of the audience was still
holding the red cloth as they watched the movie Remember. An adult dancer dressed in white, Adrienne Lyne, began
rolling up the red cloth from the audience as she belted out “It’s our turn to
take care of the Earth.” Then the community cast echoed those words, “It’s our
turn to take care of the Earth,” as they marched forward into the dark black
night. This robust burst of loving energy was contagious and carried the Earth Dances story forward out of its longing
state induced by the film.
Stone’s intention for the text “It’s our
turn to take care of the Earth” was to serve as Stone’s reminder and her declaration
to the world of what she feels needs to happen in order to protect the planet
and its inhabitants from more endangerment. This phrase empowered Stone and
urged her fellow human beings to take charge of the health of the Earth.
Answer
Lyne led the dancers dressed in white back
to the performance field in front of the Bluemont Community Center, with the
Red Cockaded Woodpecker guiding the audience to their outdoor seating. This section began with two young dancers running
up to the audience saying…
“I got it!”
“You’ve got what?”
“I figured out how to take care of the Earth.”
“How?”
“By treating it with love and respect,
just like we treat our friends and family and all of our animals”.
“Oh I got it, by treating the Earth
with love (pause) and respect. I got it.”
This high energy dance section
represented for Stone one “Answer” to the problems our planet is facing
today. By working collaboratively,
listening to each other’s ideas, and sparking each other’s creativity, this
intergenerational and multi-racial cast created a healthy example of how working
together can produce solutions. The community dancers generated animal
movements, created a tornado section, and made partnering dances based on the
qualities of love and respect. Their white
costumes stood out against the night sky and the LED lights, wrapped around the
dancers’ bodies, honored the disappearing fireflies. The complicated music,
Sting’s Fragile, Clark on cello,
McGraw on mandolin, Allen Kitselman on guitar, and Mother Earth, Anna Billman,
singing, blended precision with creativity to bring this dance section to a magical
place, another climax, this time of beauty in the story of Earth Dances.
Collective Mending
Stone gently stood up from Answer and moved toward a large wooden globe
sculpture, adorned with colorful ribbons, hung from an oak tree, as the
woodpecker instructed the audience to follow.
Mother Earth repeated the hummed tune of Peaceable Kingdom and handed Stone the same red cloth, but now the
other end was attached to the globe. Stone
wound the cloth around her body, the umbilical cord attached to the Earth, as she
climbed inside the sculpture. Collective Mending was Stone’s attempt
to navigate her increasing anxiety about global warming in our world today—the
result: a delicate balance between structure, flow, beauty and universal
commitment.
Mother Earth replaced Stone inside the
globe and sang the full version of Peaceable
Kingdom to the steady beat of Dale Lazar’s djembe African drum. The strips
of cloth were handed out to the audience and everyone circled the globe, in
reverence, humming together. Collective
Mending’s performance purpose was to gather a collective group of people in
a ritual of movement and song, and to create the feeling of being connected to
something larger than themselves, the sculpture, the Earth. When the singing
stopped the participants wove the ribbons back into the globe, “collectively
mending the Earth.” This section kept the Earth
Dances story floating in its enlightened state.
This Land is your Land and Views
from of the Earth
After Collective Mending, an unhurried, almost “Taps” like beginning on a
trumpet sounded that soon transitioned into an upbeat, jazzy, somewhat raucous,
explosion. With Mother Earth singing, by now decorated in a woven head piece, cape
and lights, Jo Hughes on trumpet, Clark on banjo, and Kitselman on guitar, the
musical parade marched the audience back under the tree line and through Stone’s
grassy path, now lit with fire-burning tiki lamps. The audience joined the
music making as they banged on handed-out percussive instruments in Sharon
Jones’ version of Woody Guthrie’s original “This Land is your Land.” The intention of this full participatory
singing transition was communal merriment, the applause at the end of a
show.
Once this shared celebration of singing
and music stopped, the viewers were corralled around a corner of trees for one
last glimpse of the show. Projected on the white wall of Stone’s civil war shed
was video footage of the Earth from space, the sky, the oceans, the clouds
being swirled about, the desert sands…and Stone floating in front of it. She
was suspended, like an angel, dancing very slowly. Stone was dancing, Butoh slowly, dancing her appreciation
of the Earth.
Historical Context
Anna Halprin, Liz Lerman, Reverend Billy and the Church of Stop
Shopping, Cassie Meador, Bread and Puppet, and Zap McConnell all did it
before. Like Earth Dances, they all gathered artists, combined them with their
community, included untrained dancers of all ages in site-specific settings,
and created activist art that spoke beyond the abstractness of dance’s emotional
and physical contours. Halprin’s CityDance in the 1970’s in San Francisco began on a hill at
sunrise, offering a blessing to the waking of the day as well as to the
cardinal directions; Earth Dances
began at sunset in a field nestled in the Virginia mountains and began with a
sensory exercise. In CityDance the
participatory audience members were led through different spaces. Earth Dances’ Red Cockaded Woodpecker
led the participants from place to place. Similar to CityDance, where there were poets, musicians, mask makers, dancers,
non-dancers, viewers, homeless people, and children all participating together
in this part parade, part circus part country fair, Earth Dances included local singers, dancers, musicians, outdoor
video projection, children, sculptures, storytellers and costumes.[6]
Similar to Stone, the founder of the Dance Exchange in
Takoma Park, Maryland, Liz Lerman, was interested in working with people of all
different ages. In Earth Dances the community dancers were originally going to be
eleven year olds and older, but when neighbors kept asking if their younger
siblings could be a part of the show too, Stone agreed, realizing the resource of positive energy
that exudes from that age group, just as Lerman realized the positive energy
from working with seniors.[7]
Like
Earth Dances, which created art with
a message, in New York City Reverend Billy, a performance artist, knew how to
share his message through the dramatic spoken word. His over-the-top preaching
style woke up communities wherever he and his Church of Stop Shopping showed up
with their robust gospel singing charm. What Would Jesus Buy?, his book and DVD,
provided his audience with choices. It reminded the human population that people
don’t have to buy what is put in front of them. As they travel through towns in
their bio-diesel buses, they reminded the world that people have choices.[8]
Earth Dances’ bike
powered lights reminded people that they have a choice. Earth
Dances’ River of Trash speech reminded people how their choices affect the
Earth. Earth Dances plastic river dance, Thrashed, reminded people that bad choices can cause harm, and Earth Dances plastic-free reception
reminded people that a different choice might look and feel better.
Cassie Meador, the newly appointed
director of the Dance Exchange, is also combining art with environmental
advocacy. Last spring she documented her publicized walk to the source of her
electrical power, from Takoma Park, Maryland to West Virginia. She, through
this journey, spread environmental awareness by increasing her dancers’ and
non-dancers’ vantage points of how they viewed and experienced the earth. Through these outside movement exercises she
gathered material that she will use to inspire her show “How to Lose a Mountain,”
next spring in Washington DC. She is also creating an environmental workshop
series where she is inviting environmental artists to gather and discuss their
work with the next generation.[9]
When asked, Meador doesn’t call herself an environmentalist, she says,” I just
I want to continue to do work that helps people build a kind of sense of
affection for the places where they live and a responsibility to that.”[10]
Anna Halprin, Liz Lerman, Reverend
Billy and Cassie Meador all informed Stone’s journey through their shared
intellectual ideals. However, Stone’s
physical experiences at the North Carolina School of the Arts, with Bread and
Puppet, with Zap McConnell in Charlottesville, and later in New York City
watching Reverend Billy and the Church of Stop Shopping, fueled her actualizing
of Earth Dances through cellular
memory. Stone, while at the North Carolina School of the Arts, experienced what
it was like to be part of a huge Bread and Puppet political production with
numerous sections, sculptures and costume.
Later, as she walked through McConnell’s Three of Swords, Wunder Kamer of Charlottesville, and The Unearthing, where McConnell guided
people up and down stairs in industrial spaces filled with images of Monsanto,
oil spills, fire dancing and homemade sculptures, Stone’s body absorbed the
possibilities. Stone witnessed the power of Reverend Billy’s direct preaching
activism, watching him use drama and timing to summon the words that would free
his worried mind and enliven his audiences.
With Earth Dances, Stone was
never alone; many artists have created and are creating collaborative,
community, site works with a message.
Earth
Dances Conclusions
Stone’s professor, following the
performance, commented that “Stone had now become a legend in the little
village of Bluemont.” The emails poured in about Stone’s herculean effort to
pull together such a wonderful show and message. “Is this going to be an annual event?” “I
loved the sound track, where can I find a cd?” “I’d like to produce you in our
beautiful barn-turned-theatre space whenever you want to come!” When the parents
of a cast member, who are Lumbee Indians, congratulated Stone and described her
as good medicine, Stone was delighted for days.
Stone
was astonished at the volume of audience attendance and appreciation, see
Appendix F, and was equally amazed by the mass of citizens that were eager to
work on this project, see Appendix A. Her
community was ready to make something happen. Almost every person she asked to
be part of Earth Dances
committed. Stone believed this was in
part because of her “come when you can” approach, which can create stress for a
director. Stone, however, remembered what her professor had shared with her: make
the dance with those that are in front of you. Stone instructed the other
dancers to help the ones who had been absent, which furthered their own
understanding of the material. Still, with so many variables and such a huge
cast and audience, Earth Dances surprisingly unfolded for the most part as she imagined.
Stone did learn that with a traveling piece, limiting the number of audience
members could have proven helpful in keeping the flow of the show. However, because
Earth Dances was her first large
production in her community, she was happy she made the choice not to turn
people away.
After rising to the occasion with her
opening speech, a role she had initially considered giving to a friend, she
thoroughly enjoyed the one-on-one communication with her audience. With direct eye contact and playing with the
timing of language, the opening speech was another place of improvisation
exploration which charged Stone.
The Wolf
Talk section, the second version of this dance, received the most amount of
flattery, even though some audience members thought they were cats. After her first Wolf Talk, which she performed in November, Stone received criticism
about a spoken word section. Eventually Stone cut that segment and trusted what
she learned in graduate school while watching
her colleagues work: simplicity can be beautiful.
People were reluctant to walk through
the River of Trash and there was some question of sure footing. Further limiting the kind of trash put down
might resolve that problem in the future.
Also dealing with that much plastic in general was challenging.
The
multi-media aspect of Earth Dances
was a direct result of Stone’s knowledge gained in her George Washington
University graduate program, and this video aspect kept Earth Dances current with these technological times. However, Stone
discovered that having a simple two-dimensional film within a three-dimensional
performance setting didn’t keep her interest. The footage in front of the civil
shed, on the other hand proved to Stone that video footage when layered with vibrant
art can generate a dynamic production.
Stone
learned sculptures need
space to grow, live and adjust, just like her human cast. Sculptures are works of art and working with
natural materials they wilt and fade just like dancer’s memories do if not
refreshed and treated with equal living importance.
Making sure all sections have sound
checks and that there is one specific person responsible for all the sculptures
pre and during the show could have helped.
The
Collective Mending’s sculpture itself surprisingly taught Stone a lesson
about adaptability. Witnessing its concentric circles of sticks moving
independently of each other, Stone’s belly relaxed and she knew, through
natures ability to adapt, that global warming would not destroy the Earth.
The live music aspect of Earth Dances elevated and fulfilled the performance and furthered
the emotional story of the show. In addition the live music created an "in" for many audiences members that were accustomed to music more than modern dance.
Challenging
Earth Dances to have LED lighting
sparked engineer-minded family members’ intellectual curiosities, and as Alex
Pettit said, “It was just cool.”
The
carved relationship with the Blue Ridge Wildlife Center proved fruitful, with many of their constituents coming
to the show and over $800 given to their nonprofit organization. Having the live
animal showing at the end of the evening and making the decision to donate 50%
of the proceeds to them set a tone of love and graciousness throughout the
process of Earth Dances. The 50 %
given to Mission: Wolf, who adopted Stone’s high-content wolf, Daisy (the
inspiration for Wolf Talk), continued
the virtuous cycle. Stone dreams of joining Mission: Wolf by performing Wolf Talk as an addition to Mission:
Wolf’s East Coast educational tours. as well as figuring out a way to create a local school performance including the plastic turtle and the River of Trash speech.
Stone’s
conscious effort to create a loving, collaborative and calm environment during
the process of the work was recognized during the post-performance discussion
as cast members spoke about their positive experiences. Perhaps, consequently, Stone’s
cast was open and responsive during the show, allowing for last minute changes to
be accomplished with ease. The community
aspect of Earth Dances, bringing
together neighbors to work collectively to accomplish its creative production,
breathed new life into friendships, and increased feelings of self-confidence and
self-worth within Stone’s village. As a direct result of connections made
during the Earth Dances process, Alex
Pettit is receiving yoga classes from Stone in exchange for drum lessons for
her son Skylar, and Martin Mitchell, an 80-year-old neighbor, enjoyed helping
prepare for this neighborhood event and is taking walks with Stone through the
hills of Bluemont.
When asked if Stone will perform Earth Dances again, Stone pauses. So much was gained in this monumental work
she likes the idea of doing something again, but she will wait until her family
is ready. Being a director of 42 people
takes an enormous amount of energy and for now Stone needs to channel that energy
back into family, home and friends. She does however, have day dreams of
producing an evening of dance at the beautiful performance barn that has been offered to her. But
for now she will clean out her husband’s barn as promised.
The blending of Stone’s environmental
passions with her artistic passions was surprisingly healing for Stone and
perhaps for her community as well. In the face of the environmental turmoil
that our culture on some level is experiencing, based on the calculations and
documentations permeating our media about climate change and its consequences, perhaps
having an evening length event that spoke about human’s responsibility toward
an ailing planet was important and opportune. In Martin Keogh’s anthology Hope Beneath Our Feet, his gathered
authors speak about how action in a time of environmental fear can promote
courage and create a feeling of hope.[11] By
sharing with others Stone’s concerns about the state of the planet, by
celebrating the uniqueness of the Earth and its inhabitants through dance,
song, sculpture, music and ritual, Stone was able to heal parts of herself that
previously felt isolated and divided.
This coming together, this creative collaboration with family and friends
to build Earth Dances, expanded Jennifer
Clark Stone’s, and her community’s, trust and vision of what magic could be created
in Bluemont, Virginia.
Works Cited
Books
1)
Halprin, Anna. Moving Toward Life, Five Decades of
Transformational Dance. Hanover and London: Wesleyan Press, 1995.
2)
Keogh, Martin. Hope Beneath our Feet. Berkeley: North
Atlantic Books, 2010.
3)
Lerman, Liz. Hiking
the Horizontal. Middleton: Wesleyan University Press, 2011.
4)
Nachmanovitch, Stephen, Free Play, Improvisation in Life:
Penguin Putnam Inc., 1990.
5) Talen,
William. What would Jesus Buy? Public Affairs, 2007.
6) Waldman,
Carl. Atlas of the North American Indian.
New York New York: Facts of File
Publications. 1985.
Interviews
1)
Meador, Cassie. Personal Interview.
July 31, 2012.
Bibliography
Books and
Scholarly Papers
1) Kristin G. Congdon and Doug Blandy,
Administering the Culture of Everyday Life: Imagining the Future of Arts Sector
Administration.
2) Lawrence Halprin and Jim Burns with
contributions by Anna Halprin and Paul Baum, Taking Part: A Workshop Approach
to Collective Creativity. Cambridge and London: The MIT Press, 1974.
3) Thich Nhat Hanh and Robert, The Long Road
Turns to Joy- A guide to walking mediation. Berkeley: Parallax Press. 1996.
4) Keogh, Martin. Hope Beneath our Feet.
Berkeley: North Atlantic Books, 2010.
5) Anderson, Tom, My
Space our Planet, Change is Possible. HarperCollins Publishers, 2008.
Interviews
1)
Halprin, Anna. Personal Interview. July
26, 2012.
2)
Hughes, Phillapa, Personal Interview by
Kathleen Mattingly. July 25, 2012.
DVDs
1)
“Breath Made Visible.” Writ. Zas film
AG.Dir. Reudi Gerber. Zas film, 2010. DVD.
Websites
Appendices
Appendix A- Earth Dances Program
Earth Dances
Program
Order and Biography Information
Earth
Dances director Jen Stone
In collaboration with the performers, Earth Dances is a physical story of a
young woman seeking balance in our world.
Walking Mediation - Led by the Red Cockaded Woodpecker, Amy
Barley. Listen to the sounds of
nature, pay attention to your breath, quiet your mind. No talking, please.
Collecting Stones - Original song written and performed
by Anna Billman with percussionist Gary McGraw.
Wave - Community Dancers: River Billman, Kennady and Kendall Briscoe,
Maxine Griffin, Dolores Goodson, Celeste Heath, Adrienne Lyne, Caroline Malone,
Erin and Ryann Markel, Elyse and Aidyn Morris, Angel and Rocky Pimentel, Erin
and Ellie Ramsey, Laura and Madison Zimmerman, Kara Stockwell, River and Skylar
Stone, Alexis and Lisa Zimmer-Chu.
Accompaniment
by Gina Faber on gong, Gary McGraw on violin, Jen Stone’s dad Richard Clark on
cello.
Flight of the Honey Bees – Community Bees: Drew Billman, Charlie
and George Hughes, Skylar Stone. Flight
of the Bumble Bee by Nikolai Andreyevich Rimsky,
violin performed by Gary McGraw and cello
Richard Clark.
Wolf Talk - Dancers Brian Buck and Jen Stone, a
dance made in dedication to Daisy, a wolf that was found and raised in Bluemont
by the Stone family. They relocated Daisy
to Mission: Wolf, a wolf rescue league in Colorado when she out grew her home
here. Musicians Gina Faber and Gary
McGraw. Recorded wolf sounds from Mission: Wolf.
Alex Pettit performs Black Key song, “All you ever
wanted.”
Restroom/ Chat break inside the
Bluemont Community Center
Gallery –Photographs from around the world by
Diane and Mike Canney, owners of Sunset Hills Vineyard, Richard Clark playing The Swan by Saint-Saens.
River of Trash- Cyclist powering the LED lights
upstairs and on the stairs. Bikes donated by the Purcellville Sports Pavilion,
turtle sculpture by Rosalba Negrete, plastic collected by Jen Stone’s household
with a couple of other households contributing since June.
Thrashed- Dancers and creative collaborators Jen
Stone and Megan Thompson with original music performed by Dale Lazar.
The Hunting Story – A story by Tom Clark.
Remember- Video created by Jen Stone in
collaboration with dancer Brian Buck.
Music by Ry Cooder.
The Answer- Community
Dancers, “Fragile” by Sting, performed by Anna Billman, Richard Clark, Allen
Kitselman, Gary McGraw.
Collective Mending –We can
come together to mend the Earth. Sculpture by Jen Stone, Adrian Belew song
“Peaceable Kingdom” sung by Anna Billman, percussionist Dale Lazar.
“This Land is your Land”, original song by Woody Guthrie, this
version by Sharon Jones, sung by Anna Billman, trumpet by Jo Hughes, guitar by
Allen Kitselman, Richard Clark on banjo, Dale Lazar on percussion.
Poster Design by Nancy Polo
Technical support Jason Stone, Michael Cash, Kim and
Patrick Ramsey, Logan Van Meter, Diana Markel
Saturday Bicyclists Jennie Grossi, Donna Thorne, Anthony
Morris, Valerie Scott, Dan Zimmer-Chu
Sunday Bicyclists Irene
Zolnaski and Roger Biraben, Phil Bzdyk, Jen Maulfair
Bios
A lover of all things wild, and performer of many styles and
places, Amy Barley
is excited for first "winged" portrayal here in Bluemont. In recent
years, Amy has been in productions at the Old Opera House Theater
in Charles Town, Oatlands Carriage House Theater in Loudoun County, and
Full Circle Theater in Shepherdstown, WV. Married to the violinist, mother to
one of the film guys, and another sweet son, Amy lives on the Shenandoah River.
Anna Billman lives in Bluemont with her family -
husband, two children, and many native plants. She learned to love
gardening from her mother and to love singing from her father.
Drewry Billman wants everyone to know he is a baby
killer bee (Apis mellifera), but he means no harm, and he loves Earth Dances.
River Billman lives in Bluemont, is in third grade,
and loves to dance. She also loves being a part of Earth Dances.
Kendall Michele Briscoe is eleven years and in 5th grade at
Round Hill Elementary school. Kendall was born in MD and moved to Round
Hill 3.5 years ago. She has been dancing since she was 3 years old and
enjoys everything about life! In her spare time, you can find Kendall
reading, playing the piano, or hanging out with her sisters and brother.
Kennady Allyn Briscoe is twelve years old and in 7th grade
at Harmony Middle School. Kennady was born in MD and moved to Round Hill 3.5
years ago. She has been dancing since she was 3 years old and when not
dancing, she loves to play volleyball, listen to music and hangout with her cat
Winter.
Brian H. Buck earned his MFA in New Media Art and
Performance, started dancing at Essex Community College, earned his
bachelors at UMD College Park. Brian has performed with a number of dance
companies as well as in his own works. Brian has developed
pieces both for the stage and for the camera that have been presented throughout
the US. He is excited to be performing with Jen Stone again. www.bhbuck2.org
Phil Bzdyk is a Green remodeler here in Western
Loudoun County, holding a certification from Green Advantage and an MBA in
Sustainable Business. Phil has lived in Round Hill, VA for 23 years. He's an avid bicyclist, practices yoga and is
an advocate of sustainability in the building industry.
Michael Cash is a master electrician of 14 years of
commercial/residential work. It has been fun spending time figuring out the
inverter to electric bike conversion. Not an easy task, but interesting
none the less. My new company Wire It perhaps will be run on bike
energy in the future.
Dan Chu is a father who demonstrates his
dedication to wildlife and the habitat that supports it in his work as a Vice
President of the National Wildlife Federation. Regularly biking to work
in Reston has prepared him for pedaling to generate power for Earth Dances.
Richard Clark is a retired academic radiologist from
Chapel Hill, NC. He is very active as an amateur cellist and occasionally
plays the banjo for family and church events. His main claim to fame is
that he is the proud and supportive father of the Earth Dances Artistic
Director, Jennifer Clark Stone.
Dolores Goodson Two kids, one cat and
married to my best friend. We love working around our house/yard and
traveling around the country. I love to quilt, take pictures with my little
Elph, X-stitch, sketch, make baskets, read, watch movies and listen to my
stereo on #11!!
Maxine Griffin has been on the stage since age 2.
A 7th grader at Blue Ridge Middle School, her goal is to attend NYC
University and to star on Broadway. Maxine recently played the role of
"Tessie" in BRMS production of "Annie".
Jennie Grossi was born and raised in NY. After
living in the Southwest for 7 years, she moved to VA and eventually settled in
Purcellville with husband Rick and two children, John and Rebecca. She’s
a stay-at-home mom, Master Gardener, part time accountant and aspiring yogi.
Celeste Heath is a dancer with the Blue Ridge Studio
for the Performing Arts in Berryville and the Town Clerk for the Town of
Berryville. She loves to dance, swim and surf.
Allen Kitselman is a Husband, Father, Architect,
Songwriter, Singer, Guitarist, and Town Councilman living in Berryville,
Virginia. He was a founding member of the band Genghis Angus and now performs
with The Bitter Liberals. He has one green eye and one blue.
Dale Lazar is a percussionist who enjoys making
his own instruments from recycled materials. The drum used in Thrashed
was formerly a wine barrel from the Williamsburg Winery. He is happy to be
collaborating with Jen on a piece that deals with conservation and recycling.
Adrienne Beth Lyne is the mother of five children -
Kelvin (14), Kennady (12) and Kendall (11) Briscoe; and Allison (13) and Olivia
(10) Lyne. Adrienne was born in Philadelphia, graduated from Howard
University in 1990 and moved to Round Hill 3.5 years ago. When not
taxiing kids around, Adrienne enjoys scrapbooking, photography, and hanging out
with her family.
Caroline Malone is a Registered Nurse and mother of 2
awesome kids, Ellie and Connor, and wife to my wonderful husband, John.
Nothing makes me happier than when we have the music pumping and we are
singing and dancing around the house. Except maybe when one of them says,
"hey, mom, turn it up!"
Erin Markel is 11 years old and in 6th grade
at Harmony Middle School. She participates in many activities including
dance, volleyball, and playing piano. Some of her favorite things to do
are drawing and making people laugh.
Ryann Markel is 8 years old and is currently being
home schooled for 3rd grade. She really likes dancing and playing soccer.
In her free time, she likes to read, draw and play games.
Dr. Gary McGraw is a world famous geek and a
violinist. He has written 12 geeky
books. He is in 3 bands: The Bitter
Liberals, Where's Aubrey, and Hot Club Millwood. He and his wif,e the red cockeaded
woodpecker, live with two teenage boys on the Shenandoah River.
Aidyn Morris is currently in 5th grade at Round
Hill Elementary. She is 10, and likes to play guitar and soccer, and
read and write books. Her favorite subject in school is art, and though
she has no dance background, this has been a thrilling experience for
her!
Cynthia Morris is a UVa grad and a mom to two girls,
a rabbit, and now a dog. In her spare time she edits, documents and
participates in the Popular Front for the Liberation of Bluemont. She is happy
to be participating in a performance with so many of her favorite people!
Elyse Morris is currently in eighth grade
at Harmony Middle school. She plays piano, tennis, and takes
ballet lessons. This year is her first year participating in Odyssey
of the Mind. She is really excited to be doing this dance; it has
been so much fun. And she loves the message that it is sending about protecting
the environment.
Alex Pettit has spent the better part of his life
in Bluemont, Virginia. When not working at the town general store he plays
small shows in the area and records albums. There's a good chance you've seen
him walking the turnpike.
Eleanor
(Ellie) Ramsey is a
second-grader at Round Hill Elementary School. Ellie has been dancing in one
form or another since before she could walk. A jazz/hip-hop student at the
Dance Academy of Loudoun, Ellie also enjoys gymnastics at Apex, Junior Theater
at Franklin Park and her Odyssey of the Mind team. Ellie has had a great time
dancing with Ms. Jen, her big sister, and many of her friends in Earth Dances!
Erin
Ramsey has been a gymnast
since age 2 and a dancer since age 3. Erin is now in sixth grade at Harmony
Middle School and competes as part of Apex Gymnastics' All-Stars team. She also
participates in drama, Odyssey of the Mind, and is a member of the youth
environmental group, the 5Rs. In her free time, Erin is most likely found
outside with friends or curled up with a favorite book.
A mother of three, Kim
Ramsey got to know Jen right here at the Bluemont Community Center during
weekly "Mommy and Me" classes. Since then, Kim and Jen have become
friends through Odyssey of the Mind, book club, the Bluemont Fair, yoga and
other activities involving their children and many mutual friends. As one of
the lighting techies for Earth Dances, Kim is enjoying watching her daughters,
her friends, and her friends' daughters shine so brightly.
Patrick Ramsey is an eighth-grader at Harmony Middle School, and is part of the 5 R's environmental group. He plays tennis at Ida Lee and participates in Odyssey of the Mind in his free time. Patrick prefers behind-the-scenes work and is having a good time with the Earth Dances production.
Patrick Ramsey is an eighth-grader at Harmony Middle School, and is part of the 5 R's environmental group. He plays tennis at Ida Lee and participates in Odyssey of the Mind in his free time. Patrick prefers behind-the-scenes work and is having a good time with the Earth Dances production.
Valerie Scott is a Flight Attendant for US Airways,
for longer than she wants to tell. When not traveling she loves time at
home along the Potomac River with her husband and two children. They maintain
the land in its natural state with much of it forested and tall grass fields,
allowing them to enjoy the abundance of wildlife sharing the property. In
her spare time she reads, bike rides along the C&O canal and of course does
Yoga as often as she can.
Kara Stockwell is a senior in high school and plans
to pursue dance in college. She lives in Bluemont, VA.
Jason Stone is so happy this Earth Dances
is coming to its conclusion; please no encore. Seriously though, he’s had
fun watching his beautiful wife create magic. He looks forward to her
magical organization of his barn, so that he can begin brewing and pottery in
peace.
Over the last two
decades, Jennifer Clark Stone has
danced with the most exciting and inspiring choreographers and improvisers at
work today. They include Steve Paxton, David Dorfman, Maida Withers, Amy Pivar,
David Zambrano, Daniel Burkholder, Joy Kellman, and Phffft Dance Theatre Co.
Her own improvisationally charged choreography has been presented at Joy of Motion in Washington DC (2001, 2002,
2005), The Kennedy Center Millennium Stage (2004) and Dance Place New
Releases (2000, 2004). After the birth
of her second child Jen joined forces with Megan Thompson and formed the 5th
Adventure Dance Project, now Jen Stone and Megan Thompson Dance project (find
them on FACEBOOOK), co-creating works (2010-present) in Antigua, Guatemala;
Puebla, Mexico; Chicago, and in Norfolk, VA at Old Dominion University.
Originally from
Chapel Hill, NC, Jen began her training at the North Carolina School of the
Arts and completed her BFA at Virginia Commonwealth University. She has worked
extensively with the Charlottesville-based Zen Monkey Project and continues to
share her unique ideas about dance and improvisation with the next generation
of artists. She is working on her MFA in dance at George Washington University,
and teaches at her Inner Sun Yoga and Pilates studio inside of the Purcellville
Sports Pavilion (www.Inner-Sun-Yoga.com). Jen lives in the Bluemont, a village
in the foothills of the Blue Ridge Mountains with her husband Jason, and two
children River and Sky on a small farm with goats, chickens, dogs, cats and a
turtle. She is currently interested in
exploring the alignment of art and environmental activism.
River Stone is a 6th grader at Harmony
Middle School and a level 7 competitive gymnasts. Dancing with her mom
and brother for the first time in Earth Dances ended up being more fun
than she thought. River in her free time loves to read, draw, and hang
out with her friends, most of which are in this production.
Skylar Stone is a kindergartener at Village
Montessori School in Bluemont. He has loved being a honey bee for Earth Dances, even though in his heart
he is actually a killer hornet. Sky
loves playing soccer, painting and playing with his other best friend bees.
Megan Thompson is a performer, choreographer and
dance educator who teaches at Old Dominion University in Norfolk, VA. A
long-time friend and collaborator with Jen, she is enjoying being a part of
this Bluemont adventure.
Logan Van Meter graduated in May 2012 from James
Madison University with a BFA in Fine Arts concentrating
in Photography. He loves everything Arts related and has recently
been learning Ballet and Modern dance at the Blueridge Studio for the
Performing Arts. Logan is also the director of The Berryville-Clarke
County Visitor Center at Barns of Rose Hill, helping to support tourism, the
Arts, and culture in the wonderful County of Clarke.
Alexis Zimmer-Chu is a first-time dancer with a black
belt in karate. She is an 8th grader at Harmony Middle School.
Alexis founded an on-going youth environmental club when she was in 4th
grade called the 5R's, and loves art of all kinds.
Lisa Zimmer-Chu is a mother and environmental activist
who believes in the power of art not only for self-expression, but also to
motivate and inspire much needed change for a sustainable future. She is
currently the Artistic Coordinator for the Visual Arts DaVinci Program for VSA
Loudoun. A kinesthetic person and dancer wanna-be, Lisa is thrilled to be
part of Earth Dances.
Laura Zimmerman has been teaching dance for the past
20 years. She is originally from Chicago but now is loving the country life in Middleburg with
her daughters and husband. Her latest endeavor is training to become an
EMT for Loudoun County.
Madison Zimmerman is 4th grader at Emerick. Madison has been dancing since age 3; her
favorite style is lyrical. Madison was in the cast of the Sound of Music
this past summer with the Middleburg Players. Her ambition is to become a doctor
or scientist.
Appendix B- Earth Dances Press
Release
For Immediate Release
Contact: Jen Stone
Contact: Jen Stone
Cell/Tel: 703-963-8801
Email: jenclark@stonefrog.com
Email: jenclark@stonefrog.com
Local
Artist Hosts Evening of Art, Ecology and Community
BLUEMONT, VA--Jen Stone, local yoga instructor, eco-friendly mom and professional modern dancer will be blending her love of the arts, ecology and community to present Earth Dances on the evenings of October 20 and 21, 2012.
This evening-length, multi-media dance performance is set to include contemporary modern dancers and musicians with original compositions. Singers, video projections and moving sculptures, as well as local children and talent will further support this physical story of a young woman seeking balance in our world.
As Stone’s culminating project for her Master of Fine Arts in Dance degree from George Washington University, Earth Dances explores her love of this planet, its inhabitants, and their plight in these changing times. The traveling piece will begin at Stone’s Bluemont Field and move to the newly-renovated Bluemont Community Center before coming full circle for refreshments and post-performance discussion.
Open to the public, Earth Dances will be a truly unique experience for western Loudoun County. Although there is no fee for attendance, a $12-20 donation for adults is suggested. Children of all ages are welcome. Proceeds will be split equally between the Blue Ridge Wildlife Center (www.blueridgewildlife.org) and the artistic community of the Bluemont Village.
Reserve your space at the show for your designated evening by mailing a check now. Seating is limited and attendees will need to reserve their space with a suggested donation to a cover the cost of the production and support our local wildlife rescue organization. Please make checks out to Jen Stone and mail to: 33834 Snickersville Tpke, Bluemont, VA 20135
For updates, more information and to support this project, please find Earth Dances on FACEBOOK at “Earth Dances Oct 20 and 21” and visit the “Earth Dances” page of www.inner-sun-yoga.com
Appendices C- Blue Ridge Wildlife Center Public Announcement of Earth Dances
Appendix D- Additional Earth Dances
Press Release
Bluemont Artist
Hosts Evening of Art, Ecology and Community
Local yoga instructor, eco-activist mom and professional modern dancer Jen Stone invites the community to Earth Dances, an evening-length performance on Oct. 20 and 21 at 6:00 p.m. Dancers, musicians, singers, video projections, moving sculptures, and local children and talent support this story of a woman seeking balance in the world. The piece begins at Stone’s Bluemont field before it moves next door to the Bluemont Community Center and then comes full circle for refreshments and post-performance discussion. While the event is free to the public, a $10-20 donation for adults is suggested; 50% of proceeds will be given to the Blue Ridge Wildlife Center. Children of all ages are welcome. For more information, visit “Earth Dances Oct 20 and 21” on FACEBOOK or the “Earth Dances” page of www.inner-sun-yoga.com.
Click on this link to see the
video of Earth Dances making a parade at the Bluemont Fair.
What: Earth Dances- Evening length multi-media dance performance
and walking excursion
When: Saturday Oct 20 and Sunday 21, 2012 at 6pm
Where: 33834 Snickersville Tpke Bluemont, VA
20135
(next door to the Bluemont Community
Center, the Stone’s Field where the Children’s Fair is located during the
Bluemont Fair.)
Who: Professional modern dancer Jen Stone with
her professional and community dancers, musicians, and visual artists. Over
20 performers in the show!
Suggested Donation: $10-$20 adults, Kids
FREE- 50% of the
proceeds will go to the Blue Ridge Wildlife Center www.Blueridgewildlife.org.
Please make checks out to:
Blue Ridge Wildlife Center
Credit Cards accepted at Performance.
More info can be found at www.inner-sun-yoga.com on the Earth Dances page and on Facebook
Earth Dances Oct 20 and 21.
Look forward to seeing you
there,
Jen Stone
|
|||||||||||||||||||||||||||||
Appendix D- Neighbor Susan Freis Falknor Written Preview
Earth Dances
An evening length multi-media dance performance and walking excursion
October 20 and 21 (Saturday and Sunday), 6:00 pm
33834 Snickersville Turnpike, Bluemont, Virginia 20135
For more information contact: Jen Stone, 703-963-8801, jenclark@stonefrog.com
An evening length multi-media dance performance and walking excursion
October 20 and 21 (Saturday and Sunday), 6:00 pm
33834 Snickersville Turnpike, Bluemont, Virginia 20135
For more information contact: Jen Stone, 703-963-8801, jenclark@stonefrog.com
Earth Dances in
Bluemont: Multi-Media Arts Will Dramatize Love of Community, the Earth
By Susan Freis Falknor
Professional modern
dancer and Bluemont resident Jen Stone will present Earth Dances on the evenings of October 20 and 21, 2012, at 33834
Snickersville Turnpike, Bluemont, VA 20135, at 6:00 pm.
In this unusual
performance, the audience—as well as the performers—will be moving. The event
is formally described as “an evening length multi-media dance performance and
walking excursion.”
Stone describes the
show as a “site specific” performance. “The way the components are written, the
performance could only happen at this specific place, at this specific time,
and with these specific performers—my neighbors and their children.”
“The audience will
gather at my home, a converted barn in the Bluemont Village. Then they will
cross a field and an unpaved country lane to the Bluemont Community Center.
They will watch the first dance from chairs on the lawn, and then go upstairs
to the Center’s new performance space to see more. We will end up back at my
house.”
The well-used
Bluemont Community Center, built in 1921, has just re-opened in August after
years of extensive renovation work. Stone intends her Earth Dances, incorporating the talents of dozens of Bluemonters,
to be a sort of ‘welcome back’ to the Center from its neighbors.
“The program is
beautiful, inventive and collaborative—truly a unique show for western Loudoun
county,” says Stone.
The performance will
incorporate local singers and musicians, with performers ranging in age from 5
to 71. Some of the songs will be familiar, such as Woody Guthrie’s “This Land
is your Land” and Sting’s “Fragile.” Stone also drew on classical selections,
such as “The Swan,” from Camille Saint-Saëns’s “The Carnival of the Animals”
and the “Flight of the Bumble Bee” by Nikolai Rimski-Korsakov. Megan Thompson, a professor of dance at Old
Dominion University and long-time collaborator with Stone, performs with Stone on
the Thrashed segment.
In Earth Dances, as they move from place to
place, the audience will encounter a gallery of nature photographs (taken
around the world by Diane and Mike Canney of Purcellville’s Sunset Hills
Vineyard), a swarm of little boys as endangered honeybees, a huge turtle trash sculpture
created by Rosalba Negrete, a video, and much else. The gifted vocalist,
Bluemonter Anna Billman, will sing a song she wrote, “Collecting Stones.” Parts
of the show will be lit by bicycle-powered electric lights.
The climactic dance, Thrashed, will promote an ecological
message, making use of bag after bag of plastic trash.
“All this is my
personal plastic trash, collected at my house since June,” Stone confesses.
Toward the end of the
show, the focus narrows to two children. “I’ve figured out how to take care of
the Earth,” announces one child to the other. “We have to treat her with
respect and love, just like we treat our family and friends and all of our
animals.”
Stone teaches Yoga and Pilates at her Inner Sun Yoga and Pilates Studio inside
the Purcellville Sports Pavilion.
Earth Dances is Stone’s culminating project of her Masters of Fine
Arts in dance degree at George Washington University. She previewed one small part of this
performance, Collective Mending (an
audience-participation dance featuring a large mobile hanging globe) last
spring at the Round Hill Arts Center. Thrashed
has been performed in Richmond and Chicago. An additional segment, Wolf Talk, was performed at Glen Echo
Park, Maryland last fall.
Appendix E- The Congratulating Email Stone Sent Out To Her Cast
Sent Oct 26th-
a week after the show
Wow!
That was an
incredible Earth Dances weekend. We had over 100 people on
Saturday and over 70 folks on Sunday raising $1800 for wild animals
everywhere. The cast is thrilled and so am I. Thank you so much for
being a part of Earth Dances, either by being a curious audience member,
a provider of necessary goods for the production or by just putting up with
this” big to do” in our small little village.
Even the motorcyclist
who drove by Sunday played a role.
Folks keep asking if
this is going to be an annual event, and we have already been invited to
perform Earth Dances at other local venues, so I’ll let you know.
For now I am resting and reveling in the knowledge of what a community can do
when they pull together, on now what seems two distance nights, to make some
magic.
Thank you,
Jen Stone
Appendix F- Audience Responses to Earth
Dances
1)
Jen, it was such a wonderful
opportunity for me to be a part of earth dances! Thank you so very much!!
I would love to do it again in the spring...count me in!- Caroline- cast
member
2)
Just putting it out there...
Anything and any time... Count me in! Let me know and I'll do my
bestist to to work my schedule around it! I had a GREAT time being
involved in your production and I'm really very proud to have been a part of
all that you have accomplished! Super Big Congrats to a really great
production!!! Much Love and Light, Michael- tech crew- lead electrician
on bicycle inversion
3)
I'm so
happy for you and your cast.. the evening was great.. I
especially enjoyed the first 'act' --
with the surprise of fairies and
bumble-persons rising from behind the
wall. Your dad added a
note of sophistication with his
playing.. a nice touch, for sure.
I tried the bike for about 5 minutes
and just couldn't keep up with
the power required. It would have
been cool if there were a couple
more peddlers to share the load.. ah,
those last minute problems
with the techincal side of the
production :-)
Take care and let us know what evolves
from here -- Duane, father n’ law
4)
Congrats Jen! I'm so glad that
you not only did well be get the recognition you deserve for your hard work and
dedication to these causes. I hope you are taking some time to relax and
enjoy your success. Diana- cast member’s mom
5)
This mom also wrote on a gift.
“Thank
you for showing me what passion looks like.”
6)
I was
moved, awed, brought to tears, joyous, exhilarated...on and on...loved your
work! Totally concur with your professor's comments. Cast member
7)
I had a
great time. I really do thank you for including me. You and your family and
friends are a wonderful group to spend time with. Your kids are the sweetest!
See you soon!
Cast member
8) Dear Jen --I wanted to give you my comments
on Earth Dances.
It was an unusual and successful MA project. Wonderful weather, perfect timing to have it begin at 6:00 pm.
First, the dancing was excellent. Your partners were outstanding. The two wolves section -- at times I had to blink, your motion was identical to that of dogs. The kids dancing with lights later on very fun.
The frage (?) dance upstairs in the community center was very well executed. You could almost hear the sound of a rifle when you and your partner dropped.
The use of local talent was outstanding. The children, the singers, the musicians, etc. Anna Bilman's beautiful voice. How you ever identified all these locals and got so much out of them is beyond me.
You put yourself on the local map, for sure.
Problems of success. The larger-than-expected draw of your publicity and contacts had a down side. It took so long to move the 120+ audience along that it slowed down the flow of the components. Then, there were so many denouements. People thought maybe the kids dancing in lights was the end, and they applauded. Then the rag-doll earth. Then still a video and wolf howlings to go. Finally, the actual curtain call back at the start.
Plan B? You might in future shows have a "plan B" (cutting some sections toward the end?) if a big audience impedes the flow of the show. But maybe there were just too many parts, and there was too little control over their pacing. You let yourself open in having basically had no artistic control over the many "intermissions" as we waited around to get everybody together at the next stage in the "walk."
My sense was that the audience tanked up with enormous curiosity, anticipation and energy at the start and then it petered out towards the end of the show and (to me anyhow) just got lost by the very end.
" Darkness visible." It was hard to see the trash handed to me in a bag, and some people may have missed the point of it. It was hard to see the pile of trash on the floor in the upstairs meeting room, and it occurs to me that perhaps even someone might have tripped.
Too-small art displays. In the gallery, the pictures would have had to be twice as large as they were for audience passing by to comprehend the images. Even more for so the pictures of the cockaded woodpecker dropped one by one from the stage. The lights were dim -- not sure everyone saw the point.
The American Indian fable narration struck me as a-historic. Indians just didn't think like that. The piece represented a certain modern philosophy, but might actually not have been respectful, perhaps, of who the Indians really were and the necessities they resourcefully faced.
Couldn't hear the two children. Even though the two little girls were obviously well coached to speak out, I could not really hear ALL the words of their colloquy. You had written a well-framed argument for them to deliver, and everyone in the audience should have been able to hear every word.
The moral of the story. I know you put the whole show together as a teachable moment. But, as for me, a "climate skeptic," it seemed awfully didactic.
How did the messages and symbols add up? I think the message of the show was philosophically a pagan one.
Like you, I've always had a deep response to what my brother once referred to as "The Creation." But without a feeling for how God infuses Mother Earth, celebrations of her just seem to me to ring hollow.
Best, Susan Fries Falknor-neighbor and yoga student
It was an unusual and successful MA project. Wonderful weather, perfect timing to have it begin at 6:00 pm.
First, the dancing was excellent. Your partners were outstanding. The two wolves section -- at times I had to blink, your motion was identical to that of dogs. The kids dancing with lights later on very fun.
The frage (?) dance upstairs in the community center was very well executed. You could almost hear the sound of a rifle when you and your partner dropped.
The use of local talent was outstanding. The children, the singers, the musicians, etc. Anna Bilman's beautiful voice. How you ever identified all these locals and got so much out of them is beyond me.
You put yourself on the local map, for sure.
Problems of success. The larger-than-expected draw of your publicity and contacts had a down side. It took so long to move the 120+ audience along that it slowed down the flow of the components. Then, there were so many denouements. People thought maybe the kids dancing in lights was the end, and they applauded. Then the rag-doll earth. Then still a video and wolf howlings to go. Finally, the actual curtain call back at the start.
Plan B? You might in future shows have a "plan B" (cutting some sections toward the end?) if a big audience impedes the flow of the show. But maybe there were just too many parts, and there was too little control over their pacing. You let yourself open in having basically had no artistic control over the many "intermissions" as we waited around to get everybody together at the next stage in the "walk."
My sense was that the audience tanked up with enormous curiosity, anticipation and energy at the start and then it petered out towards the end of the show and (to me anyhow) just got lost by the very end.
" Darkness visible." It was hard to see the trash handed to me in a bag, and some people may have missed the point of it. It was hard to see the pile of trash on the floor in the upstairs meeting room, and it occurs to me that perhaps even someone might have tripped.
Too-small art displays. In the gallery, the pictures would have had to be twice as large as they were for audience passing by to comprehend the images. Even more for so the pictures of the cockaded woodpecker dropped one by one from the stage. The lights were dim -- not sure everyone saw the point.
The American Indian fable narration struck me as a-historic. Indians just didn't think like that. The piece represented a certain modern philosophy, but might actually not have been respectful, perhaps, of who the Indians really were and the necessities they resourcefully faced.
Couldn't hear the two children. Even though the two little girls were obviously well coached to speak out, I could not really hear ALL the words of their colloquy. You had written a well-framed argument for them to deliver, and everyone in the audience should have been able to hear every word.
The moral of the story. I know you put the whole show together as a teachable moment. But, as for me, a "climate skeptic," it seemed awfully didactic.
How did the messages and symbols add up? I think the message of the show was philosophically a pagan one.
Like you, I've always had a deep response to what my brother once referred to as "The Creation." But without a feeling for how God infuses Mother Earth, celebrations of her just seem to me to ring hollow.
Best, Susan Fries Falknor-neighbor and yoga student
My response to Susan-
Wow, well thank you
Susan. I appreciate the time you took to respond to Earth Dances. I agree
Saturday’s night run, did run on and on. We were in no way
expecting such a huge audience and in the future will indeed limit the numbers
to preserve the flow. Did you come Sunday? I feel it flowed much
better, with timing tweaked here and there, each of your notes actually
dictated to my cast for better results pre Sunday show.
I hadn’t had any
notes about the gallery “size of the photos”, and I appreciate you pointing
that out. I will consider that if we show it again.
My cousin Tom’s
story, was a personal story he told of an experience that happened to
him. It was interesting you weren’t the first one saying he was
representing an Indian, it is true he reads a lot of Indians stories and tells
them too, but this one was his own personal story. Did you see the
program info at the tent? I certainly in no way meant to poke fun at the
Native American culture. In fact a Native American Lumbee Indian
participated in Earth Dances and her
family were there and sang high praises
so luckily they didn’t take any offence.
I’m sorry if you were
put off by the teaching aspects of Earth Dances, that was not my point, however
it was my point to make my point heard. I believe everyone will take away
something from the event, so much was presented in so many ways my hope is that
conversation is spurred around some of the issues. I am not a Christian
and I’m sorry for you my more pagan- like message rang hollow for you.
Like I said every section is not going to touch everyone and that is ok.
Perhaps for you the wolf section was your slice of beauty.
I am not God, nor do
I want to be. I merely want to share some magic and speak my own truth.
Thanks again for
taking the time for feedback. I felt badly that I never sent out that article
you wrote pre Earth Dances, but I have
it and will share it with my electronic portfolio for my graduate review as
well as what you wrote below.
8) Hi Jen,
Great performance with a great message!!!
Betty-neighbor
9)
Jen,
Congratulations on the Earth Dances
performance. It was beautiful and I’m honored to have been able to help
out in even a small way. Thank you for that opportunity!-yoga student
10) Jen,
I was driving past your driveway on
Sunday at 5:58 pm with my horse trailer. Seeing the kids flag the guests
in brought tears to my eyes. My husband was there on Saturday, and sent
pictures to me of the crowd you had. - Yoga student
11) Jen-
It
was incredible!!! I'm so proud of you!!! Loved Sky's joy as a
bumble bee. Loved watching you and River move together. Loved how
obviously proud your dad and Jay were of being part, of your work, of you.
Loved playing "find Jen's mom" as she supported you just as
strongly from the side, just as she has all your life. Loved being part
of your warm, wonderful community for a night. And mostly I loved getting
to celebrate your life and you in such a beautiful way, and having the
privilege of getting to share "you" with my kids.
Thanks
for an amazing night. – old friend
12) I
wanted to congratulate you on your epic endeavor of getting ordinary people
(non-artists) to do extraordinary things (artistic things). Not many
people in this world can motivate others like you can and we need more of your
kind in the world.- musician Dale Lazar
13) Hey,
Jen,
It’s been almost two weeks since your performance in Bluemont and I’m embarrassed it’s taken me this long to email you and let you know how brilliant it was! And, how grateful we were to be in Bluemont that weekend and able to attend.
Really, it was extraordinary, Jen! Creative, moving, beautiful and very powerful. We brought the kids and my mother and her boyfriend...and, we were all blown away with your talent, staging and message.
It must have been a herculean feat to choreograph and coordinate the production! I hope you are relishing in its success and taking real pride in what you created and accomplished.
Hope to see you again soon and thanks so much for sharing your talent and heart with us.
Love,
Heather- neighbor
14) The show was great. "I thought it was going to be good, but I didn't know it was going to be that good", Tom Rust.-neighbor
It’s been almost two weeks since your performance in Bluemont and I’m embarrassed it’s taken me this long to email you and let you know how brilliant it was! And, how grateful we were to be in Bluemont that weekend and able to attend.
Really, it was extraordinary, Jen! Creative, moving, beautiful and very powerful. We brought the kids and my mother and her boyfriend...and, we were all blown away with your talent, staging and message.
It must have been a herculean feat to choreograph and coordinate the production! I hope you are relishing in its success and taking real pride in what you created and accomplished.
Hope to see you again soon and thanks so much for sharing your talent and heart with us.
Love,
Heather- neighbor
14) The show was great. "I thought it was going to be good, but I didn't know it was going to be that good", Tom Rust.-neighbor
14) Dear
Jen:
So proud of your incredibly fine
performance in Bluemont tonight. It was such a huge production with so
many nice surprises. I was quite amazed at the complexity of what you
accomplished technically (lights, amplified sound, video projected on walls,
community totally engaged, sculpture, singing, dancing). You did such an
incredibly fine job.
Congratulations.
Maida
Appendix G- Unfamiliar Terms
1) Contact
Improvisation is a partnering dance form developed by Steve Paxton with Nancy
Stark Smith in the early 1970’s that uses physical contact, weight, and
momentum to move through the space together.
2)
Bread and Puppet is a politically
inspired gigantic size puppet theatre group that stated in the 1960’s and is
based out of Glover, Vermont. Peter
Schumann is the director.
The name Bread & Puppet
comes from the group handing out free bread to its viewers to represent that
art like bread should be free and for everyone. www.breadandpuppet.org
3) Monsanto Company is a huge, agriculture company based out of Creve
Coeur, Missouri that has been accused of strong arming famers across the
USA by forcing them to sell their seeds. Learn more at http://www.takepart.com/foodinc
4) Bag It, is
your life too plastic? is
an environmental movie about the effects of plastic on the environment. Learn more at www.Bagitmovie.com
5) “Taps” is a musical piece played by a trumpet traditionally
played at the end of the day and at funerals of the U.S.
military. The tune, originally known as Scott
Tattoo was rearranged by Brigadier General Daniel
Butterfield, an American
Civil War general.
6) Butoh refers to a
hyper slow controlled movement form that began in Japan in the 1960’s in part a
reaction to devastation of the atomic bomb. Learn more at http://www.mindspring.com/~rawvor/history.html
7) Sting, Gordon Matthew Thomas Sumner, is an English
songwriter who was the lead singer of the rock and roll music group The Police.
[3]
Carl Waldman, Atlas of the North American
Indian (Facts on File Publications, 1985) 49.
[4] Bag it, Is Your Life Too Plastic, New
Day Films (Dir. Suzan Beraza)
[5]
Text inspired by Bag it, Is Your Life Too
Plastic, New Day Films (Dir. Suzan Beraza)
[6] Anna Halprin, Moving Toward Life (Wesleyan University Press, 1995) 234.
[7] Liz Lerman, Hiking the Horizontal (Wesleyan Press, 2011) 43.
[8] William Talen, What Jesus Would Buy (Creative Common Sampling License, 2006) 121.
[9] Cassie
Meador Interview July 31, 2012.
[10]
Cassie Meador Interview July 31, 2012.
[11] Kristine
Alach, “One Piece of Paper “Hope Beneath Our Feet Ed. Martin Keogh
(North Atlantic Books, 2010) 92.
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