Week 4 Post


MANCC’s current director, Carla Peterson, is a very experienced artist and dance administaror and I think the perfect fit for a role such as director of MANCC. She’s been involved with many dance related workshops and various center for the arts and has held very high positions at every place she’s worked at. She was Artistic Director of New York Live Arts in 2011, Executive Director of Movement Research, worked at Dance Theater Workshop as both Managing Director of the National Performance Network and Director of The Suitcase Fund, she was the Assistant Performing Arts Director at the Wexner Center for the Arts in Columbus, Ohio. And on top of all that she’s also played a number of roles in freelance arts consulting, fundraising and management working for national service organizations and for progressive artists. I think someone like this is extremely important in the dance field, she’s basically the one behind all the magic, one of the reason choreographers and artists can share their work with people and the world. I think it’s very impressive that after a “nationwide search” Carla was chosen and I really look up to and respect the amount of energy she puts into her work at MANCC.

“The mission of MANCC is to raise the value of the creative process in dance by: Providing a model of support for professional choreographic creativity within a comprehensive research university. Providing choreographers access to a stimulating environment where experimentation, exploration and life-long learning are both valued and encouraged, and providing opportunities for the students, staff, and faculty, the community of Tallahassee and the national dance field at large to engage with the creative process in dance.”

I think the purpose of MANCC and what it provides for Florida State’s dance program is so special. From a student’s prospective, it is like getting to intensely study all of our hopes and dreams first hand, as we watch these choreographers and performers in the processes of their work we get a perfect view into the professional world of dance. I think what MANCC provides for working artists is so important too. MANCC provides a space and a creative atmosphere for artists all around the world to work in. Without places like MANCC a lot of the beautiful dance all around us that we see today might not have been so beautiful. There’s just nothing like MANCC.

I looked through a lot of the MANCC artists and two that stood out to me most were Nami Yamamoto and Kyle Abraham. Nami Yamamoto is originally from Matsuyama, Japan and graduated from NYU. Yamamoto’s piece “a howling flower” caught my attention immediately. I think what stood out to me the most by far was her usage of a puppet. After watching the video posted under her bio i was intrigued with her whole thought process and the amount of thought put into her work. She talks about how to make the puppet look life like and how she incorporates it into her piece. It’s so interesting to see someone choreograph on a puppet and I’d honestly be sitting here all day writing if i got into how talented the actually puppeteer is as well. Very cool piece, very cool concept. On the other hand Kyle Abraham is originally from pittsburgh and he got his BFA at SUNY purchase and his MFA at NYU. His piece that he was working on while in residency, Boyz N The Hood: Pavement, stood out to me so much because I just find all his ideas of racism and racial profiling so relevant in today’s current events. On top of that find it very interesting seeing him translate all those issues into dance and eventually into a full piece.


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