Archive for the ‘Interviews’ Category

WHIM W’HIM PART THREE

Friday, December 18th, 2009

In Part Two of our interview, Artistic Director Olivier Wevers revealed some of the challenges he’s had to face since birthing his new company, Whim W’him.  Continuing now in Part Three, Olivier shares the ways in which Whim W’him will be a unique force in the world of dance…

Hannah Lagerway, Whim W'Him

Hannah Lagerway, Whim W'Him

Vala:  You speak a lot about collaboration and the process of creating new works. In what ways will Whim W’him be different from other companies? How will it be unique?
Olivier:  One of the things I’m trying to do with this company first is to bridge the dance community a little bit. Because what I’ve witnessed in Seattle over the past 13 years that I’ve been here is all these different dance communities—ballet, modern, contemporary, independent artists—everybody’s trying to do their own thing. And I really want to try to bridge that gap. I mean there are so many wonderful artists and I don’t think you need to be selective of one style and classify that one style either. In the way I pick the dancers—having PNB dancers, those classically trained dancers, Spectrum dancers that are dancers that usually dance barefoot, and then some independent artists in town—I’m trying to put all those dancers that would usually not get to work together, get to work together. It’s bridging the communities in Seattle and I want to bring back artistic collaboration.

Another thing that I’ve witnessed as a dancer is that so many people are blaming the economy that is so bad right now. So everybody is trying to do something like, “We’re going to create this ballet but we’re going to use this in-house designer, in-house lighting director, etc and we’re going to try to make it so that we don’t have to pay the orchestra overtime and such”. The resources are really limited, and it’s not just here but all around. So one of the things I really want to bring back is collaboration. Some of the greatest works to me are the ones that had a composer, a designer that was brought in, a few artists working on it, and a few dramatizers working on it. I want to go back to that. I want to be able to collaborate with other artists.
It’s been really rewarding because for the past few months I’ve been working with a composer, with a costume designer, a fantastic lighting designer—they’ve all brought so much to the work, so much more than I could’ve envisioned just on my own.
I get to do this because I’m also the one doing all the fund raising, so I know this is going to cost a lot more—it’s going to take a lot more time, more resources. But that also motivates me to work harder (at fund raising) so that I can do all the things that I want to do.

Jonathan Porretta, Whim W'Him

Jonathan Porretta, Whim W'Him

Vala:  That’s fantastic! I would love to see that happen again. It’s been years since you would even heard about any sort of collaboration going on.
Olivier:  Yeah, that’s right! I see how it happens behind the doors. It’s not about the process anymore. Choreographers 20 years ago would spend months in the studio. For example, some people say Jerome Robbins was a genius, but he never just went in the studio and created a piece in two weeks. It took him months and he would re-work it, and re-work it, and re-work it in the studio. It was all about the process as well as the product. Then adding in collaborators as well—sets, music, designers. None of that exists anymore. The process now is, “How fast can you choreograph?” and then “Can you use this in-house person for this and that?” Not that these people aren’t talented, but when the work becomes so in-house, there’s no inspiration. Those people—the costumers, etc—don’t feel like they can say anything, so there’s no artistic exchange going on. It’s important for artists to be able to pick their own collaborators. You need to work with people you have an interest in working with and those who will inspire you.
Vala:  I’m really glad that your whole basis is about the process. It’s nice to see there are people like you who choose to develop as a dancer, and create a work of art rather than just a performance.
Olivier:  You know, what happening a lot in ballet is that we’re settling. Yeah, it looks pretty and someone can produce it really fast. But imagine if that person could’ve spent another three weeks or a month or two on it, and could’ve worked with those other people gathering more ideas. Ballet to me is starting to look a little like a museum piece where you see the same things over and over. We need to keep ballet alive. I love all the pieces but if that’s all you’re giving, people are going to get bored with that. You need to push the artists, push the envelope. Discover new ways of connecting to the audience; discover new ways of doing ballet.
Vala:  I agree 100%. Years ago the character development was very different from what it is now. Dancers had to convey their character through every inch of their body. It wasn’t just “Here are your steps”. You had to make your character breathe through every inch of your being.
Olivier:  That’s not what’s happening anymore. Once you know your steps, you get a show. I remember when I first started 20 years ago in Canada, I was coached my first time in Giselle. And I don’t know how many hours I spent in the studio just learning how to walk! You know, this ballerina from Russia was making me cry because I couldn’t do it right. I didn’t know how to walk on stage! And none of that is taught anymore; everything is just kind of taken for granted.
When creating Whim W’him, I chose that name because I didn’t want it to be all about me. Like the Olivier Wevers project or company. I didn’t want that. I’m interested in bringing in different choreographers to work with these dancers of different backgrounds in the future. Therefore, I need to do more fundraising so I can start doing that. I want this to become a really collaborative and versatile company.

Check back soon to read our forth and final segment where Olivier reveals some of the exciting upcoming reps from Whim W’him, the dancers who inspire him most, and his advice for budding artistic directors!

Read more about Whim’Whim’s Performances January 15-17 and Purchase Tickets at On the Boards

WHIM W’HIM PART TWO

Sunday, December 13th, 2009

Interview: Olivier Wevers

Part One of our exciting interview with Olivier Wevers detailed the purpose and mission behind his exciting new company, Whim W’him.  Now in Part Two, Mr. Wevers speaks openly about the many changes that have occurred—both professionally and personally—since the birth of Whim W’him….

Kaori Nakamura, Whim W'Him

Kaori Nakamura, Whim W'Him

Vala: How has your life changed since your company’s inception—as a dancer, as a choreographer, an artist and as a person?

Olivier: (Gasping)  Oh my god—it’s totally changed!  I mean—(laughs)–I have no more days off.  That’s just being busy.  You know, every day off that I have, I’m trying to schedule a meeting or I’m working on the computer.  Usually my life before—the focus was really on being a dancer, which was really kind of selfish, because it was really just about the work I was doing.  So, I would wake up in the morning, get ready to dance, and when I was done dancing I could relax and do what I wanted, and I had days off that I would enjoy.
Then I started choreographing and doing commissions for other places, and started having to run around town.  So, the last few years when I was choreographing, for Spectrum for example, I would rehearse at PNB until 3 and I would make sure to schedule a rehearsal for 3:30 at Spectrum—which would give me just enough time to get there—so I’d usually be eating in the car on the way there.
Now on top of that, I’m also running this company, trying to do fundraising, scheduling–I mean everything.  I’ve been doing absolutely everything and it’s been crazy!
Vala: And yet, would you change anything about it? Would you go back to the way it was?

Olivier: Well you know, it’s interesting because there are moments when I’m like, “What am I doing?  Why couldn’t I just live the way I was living, and just have time to relax, breathe, and not have so many responsibilities?”   I mean, there are huge responsibilities that come along with all of that, and then there’s the pressure.  I mean, there have been days where I just wake up and I don’t know where to start.   I don’t want to do anything and I’m like, “Can I just—go shopping?” He laughs.

Vala: (Laughing) But no, you can’t!
Olivier: Right! So like, I’ve been asking my friends, “Is this “depression” or is this “overwhelmed” where I wake up and I just want to go back to sleep?
Vala: Oh, I’d like to say it’s the latter. But that makes sense. We all get so used to a certain way of life. Then one day we decide to turn everything upside down, shake it, then stand back and ask ourselves, “Now what?”

Lucien Postlewaite, WhimW'Him

Lucien Postlewaite, WhimW'Him

Olivier: Right!  Exactly!   Also what has changed is that I don’t get my 8 hours of sleep anymore. Which I really loved to get when I was just a dancer; I really needed 8 hours of sleep!  That has come down a lot. Now, I wake up an hour and half earlier, and for more than an hour, I’m sending email and working on the computer.
Then I take my class; usually after class I have phone calls to make or emails that I have to check.  Then when I have a full day at PNB, usually all I have time to do at night is come back here and finish my work and try to do it on my days off.  When I don’t have too much rehearsal at PNB, usually I’m rehearsing for the show that’s coming up in January, or doing my fundraising, or contacting presenters for future touring, or scheduling rehearsals.
Recently we had this big fundraiser.  I had a volunteer who did so much work for me, which was great. But after that, I had to write more than 50 cards thanking the donors.  So there’s always work to be done. Constantly people that need to be talked to—lighting designers, composers, dealing with the costumes—I mean, it’s every aspect that I’m working on.  So usually, throughout the day, I don’t stop.
Vala: It doesn’t sound like it! It sounds like you’re running around like crazy.
Olivier: Yeah, it’s constant but it’s really exciting, too.  Actually, last night I went and saw a movie.  I mean—I just had to get out for a little bit.  So I started watching the movie, and then I realized—for like a minute—that I wasn’t even watching the movie.  Instead I was thinking about all the things I had to do!  And I was like, what am I doing?  I came here to escape!  So, I told myself just escape and I’ll deal with this in two hours, he laughs.
Vala: Oh goodness! So were you able to successfully turn your brain off after that?

Olivier: I was, I was. But only after I caught myself looking at the screen thinking, I don’t know what’s going on! I’m busy thinking about things I have to be thinking about.”

Coming up in our third installment, Olivier reveals the unique qualities that not only set Whim W’him apart, but also breathe new life into the global (and local) dance community!  Check back soon to read all about it!

Mark your calendars for the premier of 3 Seasons January 15-17, 2010 at On the Boards.

By Denise Opper

Media Relations: Vala Dancewear/Class Act Tutu

WHIM W’HIM! PART ONE

Tuesday, December 8th, 2009

Interview: Olivier Wevers

Olivier Wevers is the embodiment of a classically trained artist. As a Principal dancer with Pacific Northwest Ballet, Olivier has left his own indelible mark of perfection upon each role he’s portrayed. He is not only a seasoned artist, but a prolific and highly acclaimed choreographer, receiving numerous awards and accolades for his impressive work and unique style.

Earlier this year, Olivier embarked on an exciting adventure of epic proportion. In collaboration with some of the most highly respected dancers from the Pacific Northwest, Olivier launched Whim W’him, a company designed to “provide a platform, centered around choreography and dance, for artists to explore their craft though innovation and collaboration.” (Quote Whim Whim.org)

Recently, Mr. Wevers took time out of his hectic schedule to answer a few questions from Vala Dancewear’s media liaison, Denise Opper. In part one of our series, Mr. Wevers reveals the inspiration behind Whim W’him….

Whim W'Him

Whim W'Him

Vala: First of all, I want to thank you, Olivier, for taking the time to do this.  We all truly appreciate it.

Olivier: Oh, absolutely.  I appreciate it as well.

Vala: Let’s begin by discussing the inspiration behind your new company.   What made you decide to go ahead and branch out on your own?

Olivier: Well, I have been choreographing for  7-8 years and, over the last few years,  I have been getting a lot of commissions.  Which have all been really great, but I’ve also been getting frustrated with how it all works.  You know, you only get a certain amount of time with a certain amount of dancers; sometimes they even give you the dancers. Then usually there’s no budget, it’s always as cheap as you can make it happen, how much product you can produce, and it has to be successful.  The final product has to be successful; they’re not really interested in the process behind it.  It just has to be something that will be enjoyable for the audience.
Also, when you make pieces on different companies like that, you have to kind of set it to their style and their certain “voice”.  So you have to watch what you do, and make sure it is really going to fit that company.  It’s all been great and I love creating new works, and love working on these kinds of projects, but I’ve been kind of frustrated in my own artistic development, and I wanted to kind of “explore” more.   You know, have more time to rehearse, have dancers that I really admire, and that are really going to push me.  Then I wanted to not have to tell anybody, since this is my company, why I’m doing this or that, you know?  And if I fail, I fail.   I’m the only one responsible. But then that only means that I’m going to have to work harder to get the audience to come back.  I don’t have to prove anything to anybody, and I don’t have to fit anybody’s voice.  I can really do what I want to do.

Olivier Wevers

Olivier Wevers

Vala: That is an excellent reason and answer! You’re right; when you’re working for someone else you have to make it fit their style, their voice.  But sometimes you just don’t have enough time to really get to know their voice, and yet you still have to make that product happen—yesterday.

Olivier: Right, absolutely! It happens so many times where I’m really crushed for time and I don’t have time to rehearse, so I finish it the day before the show, and they don’t have time to really sink their teeth in.  And it’s choreography that I don’t really get the chance to explore.  It’s like I just throw it at them, like—”there it is, you have it, go do it”.    It’s been great that way but now I’m really looking forward to having more time to explore.   Actually with Whim W’him, there was a piece I choreographed in June.   I videotaped it and watched it;   I wasn’t happy with what I ended up with so I just scrapped it completely.  But, really, that’s only a luxury I can afford by running this company and doing this with the time that I have.

Stay tuned for Part Two of our interview with Olivier Wevers where he candidly reveals how his life has changed since the birth of Whim W’him! You won’t want to miss it!

If you are in the Pacific Northwest, you can see Whim W’Him at On the Boards for The A.W.A.R.D. show, Thursday, December 10.

By Denise Opper

Media Relations: Vala Dancewear/Class Act Tutu

Vala Dancewear Interviews Natalee Maxwell

Thursday, October 1st, 2009

In today’s difficult economy, paying for your child’s –or perhaps your own—dance education can feel pretty overwhelming.  Many students are being forced to cut back on classes and avoid competitions. Schools can’t keep up with the requests for financial aid and are doing all they can to stay afloat.

However there are those who–when faced with challenges such as these–rise to the occasion and refuse to give up. One such person is a young lady by the name of Natalee Maxwell.

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Natalee wearing Vala's 'Vamp' leotard.

At the recommendation of her mother, Natalee devised a way to turn her multiple talents into a successful entrepreneurial venture.  Not only would this venture help fund Natalee’s dance education, but it would soon open the door to an incredible opportunity she never expected…

Vala: “Welcome, Natalee. Why don’t we have you begin by introducing yourself and your lovely family?”

Natalee: “My name is Natalee Maxwell and I just turned 16 years old. I come from a very supportive family. My mother, Jacquelyn, is especially encouraging in all of my creative endeavors and has helped me achieve much with my arts. She too is extremely creative and talented. My dad, Michael, is always helpful with my schoolwork, and is always there on those late nights when I am studying for a math test. I attend a local performing arts school, The Public Academy for Performing Arts (PAPA), as does my younger brother, Luke, who is 13. Luke is also a creative person. He dances flamenco, plays guitar, and is an actor.”

Vala: “It’s always wonderful to hear about parents actively supporting their children’s dreams. Their encouragement, I’m sure, makes a huge difference for you and your brother.  So tell us what inspired you to begin dancing, and where you currently study.”

Natalee: “I started dancing when I was 5 years old, after being inspired by a performance of “The Nutcracker”. I began ballet at Alwin School of the Dance in Albuquerque, I will continue to dance there with our studio company until I graduate.

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Natalee wearing Vala's 'Vamp' leotard.

Vala: “It’s amazing how The Nutcracker continues to inspire future dancers! So, does this mean you primarily study ballet, or do you enjoy other forms of dance as well?”

Natalee: “In addition to Alwin’s, I began taking Contemporary dance at PAPA, and have flourished in many other dance styles. I have enjoyed Flamenco, Modern, Jazz, African, and Tap.”
Vala: “That sounds like an impressive resume`! Do you have a particular favorite style?”

Natalee: “My favorite style is Contemporary Ballet. I enjoy having the ability to take strong classical ballet technique, and bend it into something more unique and edgy.

Vala: “And how did you discover Vala Dancewear? Can you share with us how your relationship with the company began?”

Natalee: “It all started while I was training for Youth America Grand Prix. I was in need of a flattering, elegant costume for my contemporary dance piece, and felt that Vala Dancewear would compliment my choreography perfectly. My mom gave me the idea to write Rebecca at Vala and ask if she would be willing to do a trade; a leotard in exchange for some of my notecards, (created from my original dancer paintings). I also enclosed a photograph of myself and followed up with an email.”

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Natalee wearing Vala's 'Siren' leotard.

“Soon after, Rebecca sent me an email saying she’d love to do a trade and asked if I’d like to be a “tester”. I immediately accepted this very generous offer! You see, I’m not only a dancer and an artist, but also a budding fashion designer. This is one career I plan on pursuing in the future and feel the connection with Vala has made me realize that it is possible to make this dream a reality.”

Vala: “My goodness, that’s incredible! Dancer, artist, fashion designer, entrepreneur…You’ll certainly have the world in your hands, my dear. J I admire your determination! So tell me, out of all that, what do you think impressed Rebecca the most about you? Why do you feel she chose to make such an offer to a near stranger?”

Natalee: “I feel that more than anything, Rebecca was impressed that I was so motivated and that I used my own artistic abilities to help my parents acquire the things I needed to be successful in dance. The people at Vala have been so friendly and approachable since the beginning, and they’ve provided me with such an amazing opportunity. I feel like such a part of the company. I feel honored they chose me to test the dancewear. Since then I even talked to our local dancewear store, New Mexico Dancewear, here in Albuquerque and now they are carrying the Vala line! I’m very blessed to have formed a friendship with this fabulous company.”

Vala: “Your story is certainly a testament to the power of self-promotion!  I know everyone here at Vala raves about your tenacity, maturity, talent and poise. To have gone to the lengths you have to help promote the Vala line is spectacular and we’re proud to have you as an honorary member of our team, Natalee! Let’s go back to your artwork for a moment. What prompted you to begin drawing and what sort of mediums have you explored?”

Natalee: “I have been drawing as far back as I can remember, thanks to plenty of inspiration from my artistic mom. I’ve enjoyed working with many mediums such as paint, charcoal, pastels, metal, and pencil in my years of study. I could say I have created something every day of my life since elementary school, but I did not begin formal art training until middle school. I am currently studying oil painting for the first time, and am always open to innovative ideas, materials, etc.”

Vala: “Speaking of innovative ideas; as you know, this article is mainly about finding creative ways to fund your dance education.  You’ve been successful with combining both of your artistic talents into a marketable format. Would you share with us how the concept of your note cards was born?”

pic 034Natalee: “Due to the high costs of dance education, I needed to find a way to help my parents fund my summer dance intensives, pointe shoes, etc. So many people loved my paintings of dancers, that my mom had an idea to make notecards. I had a local office supply company donated my first box of envelopes, and then I had my art reproduced onto note cards.  I was able to sell enough cards to pay for my entire summer intensive in southern California last year. I feel I appreciated it even more since I contributed to it.”

Vala: “That’s wonderful! It must be thrilling to see your efforts pay off like that. So with your busy schedule, how frequently are you able to update your designs?”

Natalee: “I continue to do a different series of dancer note cards every year and people can’t wait to see what I come up with next!”

Vala: “That’s terrific! I’ll be on the look-out for the next batch in 2010! So in addition to the note cards, have you come up with any other fun, creative ways to ease your financial burdens?”

Natalee: “Yes! I’ve sold many original paintings at my annual school art show, sold art at our local dancewear store, designed 2 recital program covers for our studio, designed my school yearbook cover, and I have painted t-shirts, just to name a few.”

Vala: “Natalee, you’ve been blessed with so many fabulous experiences at an early age. My next question is two-fold; how has your successful note card business affected you as a dancer and young adult? And how has your relationship with Vala Dancewear helped you in this regard?”

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Natalee wearing Vala's 'Mesmerize' leotard.

Natalee: “As a dancer, I have learned to express my passion for dance through my art. I feel I can use my abilities to always make a way for myself, both now and in the future. The reality is that I can’t dance till I’m 100, so I am always thinking of ways to use my other talents to provide. I feel that my interest in Vala, and their interest in my art, has opened up many new opportunities for me. I have learned to be confident and approach people with my ideas.”

Vala: “What advice would you give to a fellow, financially struggling dancer?”

Natalee: “My advice is to be practical. Just take the things that you like or that you’re good at, and use them to the best of your ability. I continue to work hard on my art and my dance, as they seem to go hand in hand. My mom encourages me in everything I do and helps me with many of my marketing ideas. It’s a must in these tough economic times to do all I can myself to help pay for dance, pointe shoes etc. Every dancer knows the expenses can be overwhelming at times. Try to think of something that is useful and come up with your own twist on it. When people see that you are truly passionate about something, they too will be passionate. People are always willing to support those who want to work for the things they desire.”

Vala: “That’s such a simple truth, but one that can easily forgotten in the stress of the moment. Thank you so much for taking time out of your busy schedule to speak with us, Natalee. We really appreciate it. Before we close, would you like to share any final thoughts with our readers? What have you learned through this experience?”

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Natalee wearing Vala's 'Thrill' leotard.

Natalee: “People love my art just as I love the beautiful Vala leotards and Tutu’s from Class Act. It’s all about using your talents and being productive and creating something beautiful to share with the world!

The whole thing has taught me to be confident, assertive and professional. I’ve learned that when I value the talents God has given me and always use them to the best of my ability, then I can make things happen! I hope I have inspired more dancers to use all of their talents! Perhaps they too, can use their hands and not just their feet!”

To contact Natalee regarding her beautiful notecards or dance art, please email her directly.

Photo Credits: Evalani Stockton Nieto, Timeless Keepsake Photography

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