artistic directors jamey hampton + ashley roland
Greetings fellow dance enthusiasts,
It has been some time since my last blog posting--we have been preparing feverishly for our upcoming show a thousand little cities, as well as our summer children’s dance program. I mentioned previously that I would be taking the reader on a tour of the company, by which I mean the people who breathe life into BodyVox. One such talented artist is Melissa Kanavel, a member of BodyVox-2 who has worked with us for the past two seasons, and will, sadly, be moving to Virginia to teach yoga. Fortunately, I was able to sit down with the busy lady for a few moments before she leaves, both to get a glimpse of her perspective during her time with us, as well as a chance to send her off in grand fashion.
Melissa has been involved with dance her entire life, having been raised under classical ballet beginning at the age of three. She has performed in all manner of well known ballet productions, including Swan Lake and the Nutcracker, and is in fact, not alone in her classical training among members here at BodyVox. I spoke with her about the differences between her formalized training, and the open-ended, often zany work put on by BodyVox…
‘If ballet is done correctly, it can save your body. Its technique generates the most amount of strength and flexibility with the least amount of muscle mass, which is ideal for training dancers. This is why so many members of our company have danced ballet before, having gone through classical instruction in much the same way as I did,’ she said.
Though BodyVox is known primarily as a contemporary dance company, it nonetheless seems evident that so many dancers here consider the rigid structure of ballet to be an absolute necessity as a beginning framework for any type of dance. The old adage holds true then in this case that it is best to know the rules first before you can break them. Of course, BodyVox is all about breaking rules when it comes to tradition.
MK: Contemporary by contrast is a broad umbrella of the undefined. You can take any ballet class in the country and have some idea of what you’re getting yourself into, with the pliés and tendus being codified, whereas if someone wanted to create an afternoon contemporary class, they could basically make it up in the shower that morning.
JR: If contemporary dance can potentially be equally as ‘modern’ as a $65,000 art piece of lint fuzz tacked onto canvas, where does the balancing act come in? How can you make the idea of freedom of movement work in a defined way?
MK: Sure, contemporary is great from a certain stance, we can take off our shoes and pantyhose and call it modern. It might feel great, but still look like…crap. What makes BodyVox work is that they don’t necessarily throw away technique, but rather are more interested in the feeling they are evoking from the movement.
JR: What’s interesting about that statement of evoking feeling from movement is that BodyVox is known for creating all its own work, putting on pieces that have never been seen outside of the company. Where have you seen this kind of kinesthetic energy in particular?
MK: During the production of Smoke Soup last year, I was there during the creation of the show, which was my first experience working with Jamey and Ashley as choreographers. It was amazing to come to the studio every day and see their minds unfold. “I had this idea last night while laying in bed with these ropes…let’s play around with these ropes for awhile.” And we did for hours. Of course, we would have to work at some point, but I realized then that BodyVox knew no boundaries.
JR: It’s obvious that you’ve been involved with dancing your entire life, and have a great passion for the work BodyVox does. First, I would ask if you have any hard earned kernels of wisdom for aspiring dancers out there, and second why you’re choosing to move in a different direction now by going to teach yoga.
MK: Thick skin is the best attribute for aspiring dancers to develop. Rejection comes with the profession. Often I don’t even tell people when I have auditions, simply because I’m tired of telling those same people “I didn’t get the job.” You have to fight for what you want to survive here. Despite that, if it’s still a driving passion, then there is a place for you. I’ve questioned my talent constantly while rehearsing and performing. Yet that never stopped me from getting on the stage.
To the second question, I don’t want to think of myself as leaving dance, because I don’t think that’s possible for me to do. Right now though, I’m finding myself in search of something more, though I know that its not dancing that’s creating the void. I want to explore more choreography of my own…a spiritual journey of sorts. I think with yoga I can find some of the same meditation I discovered while dancing…there’s nothing better than losing yourself in the moment when practicing either activities.
JR: Now that you’re coming down to the last few moments before you leave, what will you miss most about BodyVox, as well as Portland in general?
MK: The hardest thing to go through leaving BodyVox is saying good bye to all the people. These individuals are family…my connection to life these past two years has been BodyVox. Here I’ve known the luxury of a company that produces its own work, with Jamey and Ashley actually caring about the quality of what they are doing in every aspect, expecting a level of performance which is anything but mediocre. I got to do a photo-shoot at Powells climbing on bookcases, and was tossed in the air outside of the Steel Bridge. It’s been far more than a job here…I feel like I’ve been embraced here, and cultivated as an artist…really I’ve learned so much.
Melissa, we here at BodyVox will miss you terribly, and wish you the greatest success in your next adventure. Thank you for sharing with us all that you have learned.
