Third Rail Projects: Education


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						Educational Offerings Overview • List of Workshops • Descriptions Overview Tom Pearson & Zach Morris teaching Site-specific workshops in Hong Kong Photo courtesy of Hong Kong Youth Arts Foundation Third Rail Projects’ workshops are crafted to give students a glimpse into the creative process and the administrative strategies of a working collaborative group. Our technique and choreography workshops emphasize the tools and methods we employ to create our award-winning contemporary dance and site-specific works. Our administration/career-development classes provided practical, on-the-street wisdom and up-to-date information, giving emerging artists a head-start as they tackle the realities of working in the contemporary dance arena. Additionally, Third Rail’s artists are able to offer a rich diversity of more specialized workshops drawn from their own well-regarded and professionally recognized artistic practices and individual areas of expertise. Third Rail’s offerings can be presented as single master classes or as several in-depth workshops. Third Rail’s technique classes promote a deep and responsible knowledge of our bodies while building the strength, precision, and versatility required in performance. Starting from an anatomical understanding of how the body is designed to move, we strive to create a clear foundation upon which to explore a broad palate of movement possibilities. Our choreography workshops reflect the two-stage process we’ve developed for creating new work. The first stage utilizes a suite of clear, practically applicable methods for generating rich, riveting material based on and borne from the unique idiosyncrasies of the individual dancers and group. The personal, collaborative methods provide the foundation for the highly nuanced and lush, full bodied movement that is the hallmark of our work. The second stage focuses on concrete tools for reforming/reshaping material to forge dynamic, multi-layered choreographic passages, and on structural devices used to craft the dream-like visual juxtapositions and the dense, immersive worlds that our pieces are known for. Workshops on our creative process also include an overview of how these tools can be applied to unique presentational contexts including site-specific work, public artwork, and film and new media formats. Of equal importance is Third Rail’s focus on career development for young artists. One of the primary, and often unaddressed challenges facing emerging art-makers is the question of how to develop and sustain an artistic career. Our workshops offer clear strategies on developing a network of support, getting gigs, fundraising, marketing and public relations, and finding and accessing important resources. List of Workshops In addition, Third Rail’s diverse group of artists offer the following menu of specialized workshops. Click on Workshop title for a full description. Composition, Technique, & Body Work: • Creating Site-specific Work • Creating Dance for the Camera • Improvisions as a Basis for Choreography • Contemporary Dance Technique: Whiplashing Through Space • Movement Generation Workshop: Systems of the Body • Contemporary Floorwork: Moving From the Bones • Embodying Anatomy: Focus on Anatomical Structures for Movement Generation • A New Look at Injury Prevention: Training the Dancer as an Athlete Organizational Workshops: • Marketing & Public Relations for Artists • Organizational Tools, Methods, and Practices for Emerging Companies • 10 Things to Know When Moving to New York City Post-College Workshop Descriptions *Creating Site-specific Work* Zach Morris and Tom Pearson "expect the unexpected" –Claudia La Rocco, The New York Times "Strangers on Tong Chong Street" (2007) by Tom Pearson & Zach Morris Photo courtesy of Hong Kong Youth Arts Foundation In this workshop, multi-disciplinary artists Tom Pearson and Zach Morris lead participants through their process of creating site-specific movement works. A grab-bag of choreographic tactics focus on working with the architecture of a site to pull images and meaning from its components. Issues of developing work for the public sphere are included: techniques for researching a site and exploring its possibilities in movement; finding hidden meaning in a space and developing methods to amplify it; and experimenting with the most effective methods of capturing and holding an audience's attention in a public setting. [Back] Creating Dance for the Camera Zach Morris This introductory workshop seeks to highlight and address the unique technical, practical, and artistic challenges of creating dance film from a choreographer's perspective. Students will receive an overview of the dance film genre, viewing samples of early iterations of the form as well as its contemporary manifestations. Issues of staging and choreographing for the camera will be introduced through a series of focused exercises including storyboarding, elementary lighting techniques, framing/composition, and shooting strategies. Methods for approaching editing and post-production will also be addressed. Alternately, for artists who are in the midst of creating dance films, the workshop can follow the format of the New York Dance Film Lab which focuses on the presentation of raw footage, drafts, works-in-progress and newly finished films and includes a moderated discussion and artist-centered feedback session. [Back] Improvisation as a Basis for Choreography Donna Ahmadi Improvisation is often used in performance and as a tool to generate choreography and to create physical/emotional development in themes. When we learn conventional dance techniques, our skeleton and muscles learn to coordinate movement with an external source or impetus. With improvisation, however, technique provides the foundation for a process that results in the internalization or embodiment of movement at a deeper level. When working with thematic and emotional elements in choreography, improvisation can be used to instill deeper Intentions and affective connection in one's dancers. Participants in this class will learn basic solo and partnering skills drawn from contact improvisation and other traditions. Improvisation will be treated as a means to help students create structured scenarios, which, through improvisational development, will become the seeds for larger compositions. Classes will incorporate exercises in bodily and sensate awareness and will give participants a broader movement vocabulary grounded in their own individual internalizations and interpretations of modern and ballet technique. [Back] *Contemporary Dance Technique: Whiplashing Through Space* Tom Pearson "Pearson and his dancers pivot at the pelvis like oil-pump jacks" –The New Yorker photo of Lacuna (2006) by Tom Pearson The upper body and torso are often after-thoughts in early dance training, which focuses more emphasis on the legs and feet. Conversely, many contemporary techniques regulate upper body expressions to the floor or confine to minimal spaces. Using a sustainable whiplash body technique that includes a dynamic pelvis, expressive torso, arms, and a focused head, Pearson explores movements abstracted from and coupled with everyday action. These authentic movements spill forth into phrases of percussive abandon, complimented by meditative nuance. An emphasis is placed on continuous movement, through space and on one's own axis–with sharp shifts in direction, facing and focus–as a way to energize the body and create compelling dynamics, contrast, and performance stamina. [Back] Movement Generation Workshop: Systems of the Body Marissa Nielsen-Pincus, SME Each system in our body has a different quality when we move from it. Moving from our bones is different from organs, fluids or skin and through practice we can develop consistent ways of creating a mood, tone or quality in choreography through this clarity of knowing what it is that is directing our movement. In this workshop we will chose one system. Through imagery, touch, and improvisation students will identify distinct structures within their bodies, initiate movement from where it anatomically makes sense to move from, and glean practical hands on information that opens up the possibilities for movement, making us more articulate dancers as well as promoting good body mechanics. Each student will develop their own phrase based on the exploration and practice making choices that take them out of their habitual patterns. [Back] Contemporary Floorwork: Moving from the Bones Tara O’Con The class will focus on thinking of moving bones instead of muscles in order to move most efficiently and expansively. An emphasis will be on moving in and out of the floor, using imagery of penetrating through it, in order to move with integrity and focus; to remember that we are living breathing people moving through space, not dancing zombies. We will start with a well-rounded warm up that focuses the mind through breath, releases the muscles, and moves fully in rapidly changing directions. Movement from the warm-up will then be developed in to a phrase that involve floor work and leave room for structured improvisation. [Back] *Embodying Anatomy:* *Focus on Anatomical Structures for Movement Generation* Marissa Nielsen-Pincus, SME In this workshop we will explore the anatomical structures that make up the pelvis in order to facilitate ease, stability and mobility as we move. Using anatomical imagery, touch, and movement explorations, dancers will build a new understanding of how our pelvis works; what happens when we 'turn out', move our legs, plié, or jump. This will be a hands on experience and each student will take with them practical information that can be applied to any movement technique. Marissa’s workshops draw on her wide variety of movement experience and training. As well as dancing, Marissa is a certified yoga teacher and has been teaching yoga in NYC for the past 6 years. She has been studying Body Mind Centering (tm) for the past 3 years and is certified through SBMC in both Embodied Anatomy and Embodied Developmental Movement. [Back] A New Look at Injury Prevention: Training the Dancer as an Athlete Jennine Willett Dance is every bit as athletic as it is aesthetic. The dancer is a technician of infinite movements. As choreographers increasingly draw upon many dance disciplines for inspiration, blurring the lines between one technique and another, it is impossible to predict the movements and vocabulary that today’s dancer will encounter. For these reasons, the dancer can greatly benefit from athletic and dynamic forms of strength training, thus expanding physical abilities and reducing the risk of injury by targeting imbalances and building joint integrity. Using her knowledge and experience as a Medical and Post Rehab Exercise Specialist, Jennine Willett offers an intensive course that provides the tools for the dancer to design a personalized and well-rounded strength and flexibility program that addresses postural distortions and special needs, thus preparing the body to meet the rigorous demands of a professional dance career. [Back] Marketing and Public Relations for Artists Tom Pearson Whether you are an independent choreographer, dancer, or organizer, smart approaches to marketing and public relations concerns are imperative to the advancement and sustainability of your career. In this workshop, we will explore the ins and outs of various marketing techniques including: traditional, grass roots, guerrilla, internet, email, viral, print, advertising, and other media. We will also take a close look at the PR engine and its various components and considerations, including: press releases, press pitches, photo placement, press kits, and the different types of press coverage. Likewise, we will look at case studies and answer questions such as "what can I do myself" and "when do I need a publicist?" Other issues to be discussed include, but are not limited to, what to do with press once you have it, how to survive a "bad" review, and how to cultivate your champions. [Back] *Organizational Tools, Methods, and Practices for Emerging Companies* Elizabeth Carena and Zach Morris Practical methods and practices for structuring, administering and growing an emerging arts organization using the development of Third Rail Projects as a case-study and model. The workshop will focus on Third Rail’s unique collaborative organizational model based on shared resources; on its overarching philosophy of “creating sustainable growth through developing strong personal relationships with supporters;” and the implementation of these ideas as they manifest in best practices. [Back] *10 Things to Know When Moving to New York City Post-College* Tara O’Con In this workshop, simple, effective guidelines are shared that enable the dancer to hit the ground running upon arriving in the dance capital of the world. Below an outline of what is covered in detail in the workshop: 1) Save at least 3k before moving and try to stay away from credit cards. 2) Get a job that is stable but not too taxing on your body. 3) Get involved in an arts organization that will get you oriented to the community you are interested in becoming a part of artistically. This will be great if it is a paying job, but workstudy and volunteering/ushering at venues is also perfect. 4) Network (see shows, talk to people after the shows at the bar, ask questions, introduce yourself-make connections. 5) Set standards for yourself about when to do projects for free, and when not too-take work quality and time commitment into consideration. 6) Gather all the information you can about free resources- both artistic (free shows, free class etc) and life ( food co-ops, free/low cost healthcare. 7) Do not burn bridges or mouth off in public- you never know who you are talking to-this community is downright incestuous. 8) Get a really good, big bag that won't break your back 9) Learn about tax write offs 10) Loose your attitude/get an attitude (depending on the person) BONUS - Know that the climate, funding support, and standard of living in NYC that your elder professors experienced when they were young does not exist anymore and there is no standard company model. i.e- it can take years to get into a big "company" if ever. BONUS BONUS - Live it two-three solid years before you decided NYC is not working for you. It will take at least a year and half to even start feeling like you have started to find a niche. [Back]