It’s amazing how life changes so fast… one minute you’re on stage sweating and dancing like there’s no tomorrow, and the next minute, you’re married and have started a family! I am glowing after the news of Claire Hancock’s new baby! She has always been so remarkable in every capacity of life, and motherhood is now another feature to her mark of greatness! My fortunate times to work with her while she spent time in NYC, added to ACD’s stock of significant artistic contributions. She was just 6 years old when I originally met her in Tucson, AZ, where I did my graduate studies at the University of Arizona. Her parents were my teachers, but became fast friends with my husband and me. Their dynamic family holds a distinguished place in the dance world… and so I honor all of their efforts for not only paving the way for me, but for all those who have been touched by their mark of genius! I know I’m not alone when I say that Claire, and her mother Melissa Lowe, and father, Jory Hancock, truly are rare gems that will be continually treasured — and now we add one more gem to the mix!
Claire Hancock and composer Vincent Calianno are the creators of Two Trains. These extraordinary artists meld their expressions of movement, imagery, and sound. Be sure to visit their site!
There’s a fine veil between our physical and spiritual lives. Much of what is created in the studio is a product of what, I believe, is being downloaded from a higher source. From the rough, scrappy Jiffy-Mixes I create, to the finer works that have had time to age a bit, the process of allowing movement to come through me without too much deliberation has been my joy as a choreographer. 2017’s political climate wrestled with my spirit– I know I’m not alone here! As with most artists, I took to the studio and used the deep feelings from within to mix-up a variety of movement, inspired by our country’s state of conflict.
The timing of the year was filled with fits and starts. With many obstacles hitting me outside of my dance life, it was a slow start to organize events. Honoring my qualitative time with dance has become more important than quantity, so taking my time was part of the rhythm. The quality of dancers I used this year, some new and some veterans, sparked new frequencies of energy that started after my June Master Class. Not only did I love the experience teaching at Ripley Grier Studios, but I was so thrilled to have had a live accompanist, William Ruiz, to lead us through the hot, sweaty, rhythmic class — a high time for me, and per the feedback, a high time for the dancers, too!
Dream Spell was a highlight for me in August, when in just two-hours-plus, we created another one for the archives in our Jiffy-Mix series. The dancers (several chosen from the Master Class), were so inspiring, and that process of higher- source downloading, definitely assisted me through the day! New artists also appeared that day with our videographer and filmmaker, juicing-up the energy in the room even more! Joel Stephens created a film about the process of our day, entitled, “Ebb and Flow.” With music by collaborating artist, Nicole Renaud, it was pure energy in motion, filmed with an eye for innovation. Our day together also raised $750 for Peace Community Chapel’s SummerStock Fund, where donations went to: Bridgeport Rescue Mission (Bridgeport); Beth-El Center (Milford); New Covenant Center (Stamford); and Food Bank For NYC. Thank you to all our donors!
“Willing to Catch” was a special time for me in the Fall, working with four amazing artists: Claire Hancock, Paulo Gutierrez, James A. Pierce, III, and Heidi Sutherland. The two couples, dancing the same duet, embodied the movement with their own distinct styles, delivering a story from the heart each time they took the stage. From our NYC CBG Fall Dance Festival performance, to the Temple University Alumni Dance Concert, the grace and strength these dancers conveyed, superseded my expectations! I was so proud of them, and so honored to have had amazing photographers involved with our events, who captured the essence of my work, and the deep level of the conviction and passion of the dancers. Thanks to Christian, Noel Valero, and Bill H, for their time and talents! It was a joy to be back on the old stomping grounds of Temple during my residency this Fall, teaching to a new crop of fresh and eager dancers, who seemed happy to spend time with an old vet!
The best thing about the picture of Claire looking through the veil in the picture at the top of this blog (taken during the making of Dream Spell), is that that veil was from my Masters’ Dance Concert, roughly thirty years ago. It was then that I knew about the process of creating coming from a higher source. That veil was used in a solo I choreographed about a woman looking back at her life, and seeing how she triumphed over adversity — the great story of our time, and the irony of this year. An insider’s view from behind the veil will tell you that it’s all just an illusion — nothing remains the same, and everything is always changing. 2017 was on its way to breaking our spirit, but somehow we triumphed, yet again… we kept the issues of the day at bay, and let the spirit pour through us, washing away all that tainted the American landscape, and all the muck that got caught in our spiritual veils. Alas, we put the year to rest, and allow for 2018 to download all the goodness it has to offer! Happy New Year! And thanks to all the artists who contributed this year, and to all the ACD supporters!
Autumn started on a busy note as two back-to-back weekends of dance loaded my schedule, but lightened my heart! With 26 years under my belt with Adams Company Dance, I still approach each project with the eagerness of a kid learning to ride a bike for the first time. Nothing ever feels mundane once I enter the studio and see the essence of beauty before me in each dancer.
Two teams of dancers made it possible to perform “Willing to Catch,” a new work which began in August, for both the CBG Fall Dance Festival in Soho, September 30th and October 1st, followed by the Temple University Alumni Dance Concert on October 6th and 7th. Dancers Claire Hancock, (a dancer whom I’ve known since she was seven!!) who coupled with Paulo Gutierrez ( a dancer who attended my Master Class in June); and James A. Pierce, III (longtime dancer with ACD), who coupled with Heidi Sutherland (another dancer who attended my Master Class)– took on the new piece with vim and vigor!
Talent pushed the boundaries with these duets, and with James also dancing the solo “Avec Moi,” at Temple– I think we hit a flush! The concerts gave a platform for the dancers to rise to new levels of grace, beauty and strength, and I am so happy to be able to have those qualities in perpetuity, with the wonderful images from each of the shows! See our albums below here:
A new duet takes to the stage today and tomorrow with the CBG Dance festival.“Willing to Catch,”features Claire Hancock and Paulo Gutierrez in tonight’s performance at 8:00p and tomorrow’s matinee at 2:30p. This premiere is dedicated to the 2017 hurricane victims.
The seasons of this past year imparted new information to me, most differently than most years. 2015 brought waves of new energy in, as each season came and went. Beginning with the frosty chill of February, when we made our film, “Hush Little Child,”when the bitter cold was whipping at our feet, we went deep into our creativity. We felt like the mail carriers delivering mail, no matter what the weather, as we trudged through the snowy botanical gardens. The frozen parts of our souls were melting into our editing, as Amelia Golden and I, churned out another film short, complete with symbolic threads that apparently were just beneath the surface of winter.
Next wave was when spring sprung into action. After a bear of a winter, palpable change and transformation were in the air. I was inspired to return to my piece, “Miles,” to contribute again to the IKADA Dance Festival in NYC. Spring allowed me to get my mojo going and invite understudies into the rehearsal process, which made for a fun and productive time. My niece, Alana Kirzner, and dancer, Gierre Godley, (returning to the role), worked their magic with the dance, melding their energies together with beauty and strength.
Summer washed in a wave of energy when our film, “A Dress in the Stream,” was screened at Triskelion Arts Film Lab, at their new, funky location in Brooklyn. We were honored to be among the first participants of their new film lab series. It was an evening of uniquely crafted films, and a chance to hob nob with their creators. This summer also found me housecleaning a lot. Not only did a few dance shoes leave my collection, but I also decided to overhaul my website, as it felt like a necessary thing to do, and long overdue. Those hot, oppressive days inspired me to go deep, and find what I really wanted to keep and what needed to be tossed in the annals of my site. My website had felt like an old shoe wearing out with the many years of its treading the web. So, after finding web developer, Greyson Schwing, I was put to work making all the needed changes.
I also was delighted to work with dancer, Annie Heinemann, in the heat of the summer, entrusting my vintage jazz class to her, for the purpose of bestowing it to future generations of dance enthusiasts. Posterity worked as a great workout for us, as we ball-changed and isolated ourselves into a pool of sweat, which lingered into the fall, when we seemed to have mostly pulled it together for safe keeping.
With the crisp air and the colors of the leaves deepening, more inspiration was in my midst. Dancer, Claire Hancock, (from my blog, Fall in Love With Claire), was able to find time to work out a new piece with me at the Baryshnikov Arts Center, “Drift.”Anyone who is lucky enough to work with this gem of a dancer, knows that whatever she touches, turns to gold. And so, with the knowledge that she was in town for only a couple of short days, we jumped into another one of my Jiffy-Mixes, and I all too soon was lost in awe. Art in any form is art, even without a professional staging, for which we didn’t have the time. So with this project, I respected the process, and how the raw performance, superseded the product.
So, after the arduous task of gathering, building, and tweaking my new website, the autumn saw the launch of MitziAdams.com. It’s a work in progress–we all know, you never arrive, it’s never done, and it’s always more for yourself than anyone else. FB: Like! I also was happy to be on a panel of lecturers again this fall with the dance students at UMASS. My colleague and former dance partner, Paul Dennis, is a distinguished faculty there, and it’s always a good time to share with the younger group of hopefuls, and shed light on the topics of dance survival.
Alas, the final wave of 2015 was Behind the Lens 2, slated for the Producers Club Thanksgiving Week. After some grueling hours in the editing room, I had my film in hand and was all set for my screening night. As a matter of course in the theater, there’s always technical issues that can crop up, but thanks to my tech-savvy husband on board, a click of a few switches, and a shout of “the show must go on,” we screened our film, ironic as it was: Behind the Lens— what goes on behind the lens. It proved to delight the crowd of some of my closest colleagues and admirers– the after party in the lounge saw more tech problems, though, as the the bartender forgot how to measure, but no one seemed to care!
Finally in December, I enjoyed the season of light… no rushing around for me. I was at peace, and so grateful for the waves of dance experiences the year had brought in. Season’s Greetings were year-round for me– very indulgent, indeed! What a wonderful gift to be able to reminisce at the close of the season… Happy New Year!
Having duende is a rare gift as a dancer, and if you’ve ever experienced laying your eyes on a dancer who has it, you’ve surely had your socks knocked off! Claire Hancock has duende, or a soulful, heightened state of emotion, different from your average performer who may be good technically, but is just missing that extra something. If you’ve ever seen a good Flamenco dancer, you’ve seen duende in action. Claire makes you yearn for more after you’ve seen her dance. Her lines, grace and technique are obviously eye catching, but then there’s that plunging into the energetic force within her that makes your hair stand on end. She’s simply one of my favorite dancers, and I was so happy to jump into the studio with her, for a couple of short days in New York this Fall, while she was visiting.
I’ve known Claire since she was seven years old, and now she’s a mature artist, making her mark in the dance world as a dancer and talented choreographer, with her own dance company. When I first met Claire, her parents were my teachers at the University of Arizona. Claire would sit backstage and watch as we all danced around her, but somehow she felt like one of us, and we all welcomed her into our big, happy dance family. I saw her mom and dad, Melissa Lowe and Jory Hancock, perform frequently, and they never failed to blow me away. I also had several occasions to dance with them, lucky as I was, and each time was an energetic high, that to this day, I’ve never quite experienced — so, I guess it’s fair to say that the apple doesn’t fall far from the tree!
Back to NYC, where Claire was using a natural GPS, leading her to experience just about every good thing that New York had to offer, and not just dance. Indulging in every aspect of arts and culture contributes to the educated artist that she is. She comes and goes, but each time she digs her heels in a little bit deeper. I found her visiting in September, and the timing was right for us to embark on one of my “Jiffy-Mixes.” Time was of essence, as she was soon to leave, but in only two short rehearsals, we whipped together “Drift, “ a dance conveying the idea of transitions in life, and how they inspire putting us in a new places and new directions. I asked her tune into her senses and write about what she was experiencing during our short process together — and we used that text to set the tone. Drift was caught in the raw at the Baryshnikov Arts Center– Misha was in the next room rehearsing — the sun was shining through the big windows, and I was in my ultimate delight — drifting into a deep, emotional place, as I witnessed the best that Fall had to offer.