WOW View with Jennifer Mascall

Jennifer Mascall, artistic director of Mascall Dance and certified practitioner of Body-Mind Centering, will lead theĀ Weekend Workshop at WOW 2011 looking at how to draw movement research to artistic expression.

August 27 + 28 (a total of 6hrs): $85 + HST

To register, please contact: mascalldanceprojects@gmail.com

Please see our WOW page for Jennifer’s bio, her workshop description and for info. on how to save your spot in these exciting classes:

http://www.mascalldance.ca/way-out-west/

 

Lite

1. What are you currently reading? What do you do with your books when you are finished reading them?

To live, sometimes I think that all I need is a bicycle, a library card and an empty room. For one of my children’s birthdays, all of the kids cut out the insides of books to make secret pockets in them. The one my son still has is called ‘The Sins of My Fathers’.

 

2. Whose work are you currently drawn to in dance? Why?

I enjoyed seeing Arkadi Zaides’ work [July 7th]. His movement pushed from expression and he never relinquished his demand for humanism. He seemed to source movement impulses as a choreographer in a similar way to Dean Makarenko, a dazzling Canadian dancer.

 

3. What is one of the routines that you practice in your daily life as an artist?

SInce 1980 I have had a daily practice of hatha yoga. I also cook and drive every day; both have taught me things about dance.

 

Heavy

1.How long have you been teaching?

When I started York University in 1970, I had taken classes at TDT once a week for two years. That first fall of university, I began teaching dance.

 

What was the first class that you ever taught?

The first class that I ever taught was to two small children at a summer cottage. We used the wringer washing machine as the beat – I was 14.

 

What is the most recent class that you taught?

My most recent teaching was a yoga class. I find that the silence of yoga allows as much rejuvenation as the asanas. Another recent teaching session was introducing a group to a Japanese involuntary movement practice that we have nicknamed “the wobblies”.

 

What are the similarities between your teaching, now and then?

A strain that has continued throughout, that I can see, is that I find a movement idea that is totally fulfilling and I want the class to be equally juiced by that. I try to pass on my lense and my reason for the interest.

 

What are the differences?

The differences now are that I can feel that I contain a lot of information about dance, movement and the body. I want to pass this information on the way that I understand it. When I was beginning, it was more ‘let’s figure out what this is about’…

 

2. What challenges do you see dance artists facing today?

It is hard to find a situation where students can learn to move across the floor. It is hard to find a place to study the history of contemporary dances so the wheel of ideas isn’t continually reinvented. It is hard to pay for class as a professional. It is hard to remain loyal when the work isn’t consistent. It is hard to be forced to be a renaissance artist when you are a specialist. It is hard for an arranger to be an artist.

 

3. What never changes?

That there are periods of momentum and periods of no momentum.