TeenTix Blog Interviews

A trio of dancers flow through breathtakingly graceful motions. They fly across the stage, sweeping their arms up above them and reveling in the fluidity of their movement. Audience members sit before the performers. Many of the viewers appear to be lost in awe at the artistry and communication between each dancer.

Audiences are essential to the performing arts. A piece might be thought-provoking for a viewer, or make them see a reflection of themselves in the work performed on stage. Dancers on stage paint a vivid image; it’s up to those seated under the dim light of a theater to interpret it.

Unfortunately, audiences no longer get to experience the thrill of live theater. COVID-19 has put a temporary halt on the world of live performing arts that dancers and audience members alike crave. Over the course of the past year, many artists have had to alter their creative process due to challenges, such as social distancing, putting the dance community on hold. Brooklyn-based choreographer Nicole von Arx, for example, is exploring ways of performing to reach a new audience in a new world; in many cases, that audience is a virtual one.

Her dance film titled Bright Night, premiering at Seattle’s virtual dance festival CHOP SHOP on February 4, embraces these challenges that quarantine has brought to both performers and audience members. As the pandemic rages on, theaters that many dancers call home and the hundreds of seats that fill them have been left dormant. Von Arx’s latest piece is inspired by the feeling of isolation the pandemic has brought. While filming Bright Night, she felt a lot of sadness, as did the dance community as a whole, not being able to perform live or connect with audiences in real-time.

“I didn’t want to put a facade on top of that feeling,” von Arx said. “I actually really wanted to embrace that feeling of desperation and loneliness.”

The title of the piece is a contradiction in itself; it’s about brightening the darkness we feel. According to von Arx, “... it’s important as artists to allow people to feel sad, as well as happy.”

Von Arx has a powerful relationship with her dancers who bring her visions to life and play a key role in her work. She often collaborates with dancers who are already familiar with her movement style and choreographic vocabulary, in order to communicate with them best.

“There’s a moment in the rehearsal process where I really have to step back and look at what I have to say,” she said. “You can give emotions and imagery to a dancer, but there’s a point where you have to step back.”

What she has to say with her choreography often has a lot to do with the audience.

Von Arx explains that her recent creative process has more to do with the audience ark, what the audience members feel, than the performance on stage. She believes a performance is relative to the viewer, and instead of just the performers on stage going on a journey, she wants to have the audience be involved on that journey as well.

In December 2020, she premiered her solo Nine. Von Arx had the opportunity to perform for a limited live audience, in which everyone was spread apart and wore masks to adhere to social distancing guidelines. Having not performed for months, she wanted so desperately to connect with the people seated before her who were also yearning for performance. For that reason, during the performance, she incorporated moments of collaboration with the small and intimate audience. She performed a free and easy-going monologue, in which she asked questions such as, “How are you?” and “What are you feeling?”, and gave them directions to stand up or turn around 360 degrees.

For von Arx, witnessing these moments of interaction, laughter, and joy after months of their absence was extremely compelling. In regards to her creative process and inspiration, she said, “I think that’s my journey and how I’m going to delve more and more into connecting with audiences and taking them into a journey because, why not?”

You can see more of von Arx’s work on her website.

Nicole von Arx's work is featured in CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: A still from Bright Night, choreography and performance by Nicole von Arx, videography by Dan Gross.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

In our world today, we eject our opinions onto others. We lack the capacity to merely listen. However, choreographer and artist Nicole von Arx does not want to continue with this norm. With her art, she hopes to connect with the audience and give viewers a space to raise questions, find answers for themselves, and be able to engage in ambiguous discussions with those around them.

During the pandemic, people have been isolated in their homes, not interacting with others as much as they used to. The global pandemic, social unrest, and changing economic situation has led people to question the world that we live in, and finding answers to those questions proves to be extremely difficult. But, von Arx offers audiences a unique and fulfilling experience through dance; one that is not typical to stumble upon. She provides an immersive experience where the audience is a part of the journey that the dancers are creating. Through this mutual relationship between the audience and von Arx’s choreography, emerges an area for one to unpack questions and attempt to find the answers we all need.

Open, grounded, and present. Inquisitive and real. Strong, passionate, with expressive brown eyes; von Arx is a storyteller, not only through dance, but also through words. Earlier this year, she was able to perform—outdoor and socially distanced—her solo Nine. There’s a part in the show where von Arx is not dancing, but instead asking the audience specific questions such as: “Hello. How are you?” and “How are you feeling right now?” In addition to her monologue, von Arx incorporates moments of interaction and has the audience stand up, do a 360 degree turn, or raise their hands.

She vividly remembers the audience laughing, engaging with the show, and talking to those around them.

“It was beautiful… To be on stage and witnessing that after months and months of not interacting with audiences and having them go through all of these emotions, was super powerful,” von Arx said. “I think that’s my journey and how I’m going to delve more and more into connecting with audiences and taking them into a journey.”

This was the moment von Arx knew she wanted to make art not only for herself and the dancers on stage, but for and with the help of the audience.

The revolutionary idea von Arx has reintroduced of allowing others to work ideas out for themselves starkly contrasts with how our society operates. Instead of viewers choking on a barrage of various opinions, von Arx instead allows one to breathe and think for themself.

“I want to raise questions that give answers,” von Arx said. “I’d rather give a chance for people to express themselves than try to tell them what to think.”

Von Arx stands out in the dance community. She is an artist who cares about the audience and whose purpose is to connect with them in order for the viewers, or rather participants, to grow individually.

A pivotal moment in von Arx’s creative journey was when she received an enlightening piece of advice. The advice? Listen to others. When the moment comes, when one feels like inserting a comment into another’s story, “That is the moment where you have to take a deep breath and let the person tell the whole story,” von Arx said. “Let them shine and go through that journey because they also need to let out those emotions and tell you that story. And it will feel different… you have to let people express themselves.”

Von Arx allows her audience to shine and have the space to disassemble and explore ideas, so that we can better understand ourselves and each other. And from there, move forward.

And now, von Arx is giving audiences a chance to utilize this priceless space to engage in her journey and explore ideas for themselves. On Thursday, February 4, CHOP SHOP is presenting the world premiere of von Arx’s dance film Bright Night.

“The moment we filmed it, I had a lot of sadness, and I think in dance, there is a lot of sadness right now for our community and not being able to perform and connect with audiences. I didn’t want to put a facade on top of that feeling, I actually wanted to embrace that feeling of desperation and loneliness.”

It’s a contradiction between the utter darkness of the night and how we can brighten up those moments. In von Arx’s short film, she allows us to reflect on those darker moments and validate them, so that we can begin to engage in conversation around our harder times.

See the CHOP SHOP premiere of von Arx’s short film Bright Night on Thursday, February 4 to embark on a journey, explore questions and answers, and to participate in von Arx’s connective craft.

You can see Nicole von Arx's work at CHOP SHOP Dance Festival’s online offering. The dance films are available on their website through March 31, 2021.

Lead Photo Credit: A still from Bright Night, choreography and performance by Nicole von Arx, videography by Dan Gross.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Mere weeks after a successful CHOP SHOP Contemporary Dance Festival in February 2020, the world was fully enveloped by the maw of a 100-year pandemic.

When festival administration duo Lizzy Melton and Eva Stone began conceptualizing what next year’s performance might look like they were left wondering…

“How do we plan for this?”

What quickly became clear was that CHOP SHOP would rely on artists unlike ever before in the event’s 13-year history as a virtual approach—while uncharted territory—was a given.

“[The choreographers are] all artists that have already been presented at CHOP SHOP, and they’re artists that we each chose...not just for loving their work, but because we thought they would have a particularly interesting perspective creating dancework in this moment,” Melton said.

Rather than following their typical process and operating under an application period, Melton and Stone believed letting go of the reins was a more appropriate model for this season.

“We love these artists and we trust them so...we just got out of the way,” Melton remarked. “Artists are dealing with enough, they don’t need a couple of arts administrators telling them what to do.”

The virtual format also lent to surprisingly broader horizons that wouldn’t have occurred otherwise. For instance, at least four different states were represented in a Zoom Master Class hosted by choreographer Nicole von Arx last month, a scenario which would have never occurred any other year.

Accessibility is a recurring theme this year, and not only with respect to schedule accommodations or distance. All of the programming involved with CHOP SHOP 2021 is either free or “pay what you can.” Melton reported that such a model wouldn’t be possible if they were dealing with the typical challenges and costs associated with gathering in a physical space.

“I think we have to explore these opportunities because even after the pandemic, so much has to change...this moment is asking us to get more creative than we have been in the past, and I think we have to.”

When asked for her prediction on where the arts will fit into society in a post-pandemic world, Melton’s definitive appreciation for creators is more than apparent.

“If you’ve enjoyed [books, music, movies, TV, furniture, housing, food] and any of those things have made the pandemic easier for you or lifted your spirits, then you have relied on arts and culture to get through this,” Melton said. “I think we have to honor that.”

Following a year marked by civil strife, loss, and isolation Melton believes artists should serve as a primary inspiration as people move forward.

“Artists embody so many qualities that I think we need more of in the world—collaboration, recognizing each other for our unique gifts, willingness to be vulnerable with one another and share, the way artists build trust with each other to get their work done...I want to see arts and artists embedded into every aspect of society”

In the meantime, Stone and Melton will continue to serve their community the way they know best, and that’s through sharing the joys of dance.

"As the producer of CHOP SHOP, I am thrilled that despite a pandemic and a devastating blow to the dance community, we have kept this festival alive!” said Stone. “Creating a platform for these brilliant choreographers to be innovative during a very challenging time is the one true joy. With careful thought, collaboration with our artists, and good planning, we found a way to pivot our festival to an online format that supports these incredible artists and benefits them as well as our viewers."

You can see CHOP SHOP Dance Festival’s online offerings of dance films on their website through March 31, 2021.

Lead Photo Credit: Fausto Rivera and Michele Dooley of Spectrum Dance Theater perform Donald Byrd’s OCCURRENCE #8 REDUCED at CHOP SHOP 2020, photo by Bret Doss.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

This review was written as part of an Arts Journalism Intensive with CHOP SHOP Dance Festival which was held January 10-31, 2021. The workshops was taught by Press Corps teaching artist Gabrielle Kazuko Nomura Gainor.

This workshop was generously sponsored by Case van Rij and the Glenn Kawasaki Foundation.

Pandemic life is nothing new: it’s in the headline of every arts event, and it’s the center of every news story, hashtag, and home. It is shocking how rapidly a single word can trigger dread and create a sense of isolation, or even mania, within an entire population. In these many months, the world has faced a great deal of change, and while isolation has proven to be one of the biggest challenges, we all have found ways to create the personal interactions we so intensely crave. Art has been a surprisingly integral part of these interpersonal interactions—watching a live stream from your favorite singer can be just as engaging as a phone call with a friend, and viewing short films on Zoom together brings us that much closer to the ones we care about. The opportunity to become invested in art and creativity is, in many ways, more accessible than ever. Arts organizations have adapted to COVID-19 by utilizing their websites to increase interactivity with hope of adding the personal touches that help thaw the loneliness of their audiences and supporters. Theater and dance companies have faced the same challenge: how can a theater bring audiences the gift of a show and continue to offer cherished community spaces when they aren’t physically open? This summer season, the artists of local dance company Whim W’Him had to find that answer for themselves.

“We decided to pivot into making dance films” says Whim W’Him artistic director Olivier Wevers. Before COVID-19, the dance company’s summer season XALT was set to consist of two live shows—MANIFOLD and The Way It Is. These pieces intended to explore the human journey and bring the audience into an intimate storyline, latching onto the personal, yet universal, emotions of the audience members and artists alike. But COVID-19 spun the arts world on its head, leaving many dance companies unprepared and in search of new ways to reach audiences. XALT’S MANIFOLD, choreographed by Penny Saunders, and The Way It Is, choreographed by Wevers, use dance to perfectly capture the loneliness of quarantine. It is strangely comforting to see the socially distanced dancers in these performances tread carefully, so as not to step into each other’s space. Whim W'Him dancer Andrew McShea and company dancers performing Olivier Wevers' The Way It Is during a pop-up appearance at Myrtle Edwards Park in Seattle. Photo by Stefano Altamura.

Barb Hoffman just wanted to draw on clouds. Now, her film, What We See in the Clouds, is up for a jury nomination at NFFTY, the largest youth film festival in the world. This week, I had the privilege to speak with her (virtually) as well as the young artistes behind God is a Lobster, another film debuting at the festival, to discuss their experience making films safely in the age of COVID-19. Let’s see what they’ve been up to:

In Hoffman’s What We See in the Clouds, she has her friends describe what they see in various pictures of—you guessed it—clouds. Then, Hoffman expresses the descriptions visually by drawing on top of the images, blurring the line between reality and imagination. Essentially, she crafted a cloud-centric Rorschach Test and conveyed her results through mixed-media animation. She chose this technique because “telling stories with actual imagery that we’re used to, plus images on top of it gives [the film] a sense of magical realism that I’m very intrigued in seeing.”

Introducing our TeenTix GiveBIG SUPERSTAR, Hana Peoples! Hana is one of fewer than 20 people in the whole world who has donated to TeenTix during GiveBIG every year 6 years in a row! She is a TeenTix alumni who recently moved back to Seattle after graduating from UCLA with a Masters in Cinema and Media Studies. Hana is currently starting a part time internship with Telescope Film where she will be helping with their international film database. In a recent interview, we got to know Hana and hear about her arts experiences with TeenTix and beyond.

Hana was first introduced to TeenTix by a friend, and together they attended a show at Pacific Northwest Ballet. At the time, Hana went to Holy Names Academy for and always felt like she didn’t quite fit in. She enjoyed theater and dance, but didn’t want to perform. Hana (right) and her friend Lena at her last TeenTix event, PNB's The Nutcracker, in 2013.

Arts Essentials pairs young people with arts leaders for conversations that matter. Join us for a new interview every week! Arts Essentials with Sumeya & Betsey

TeenTix New Guard Member and Newsroom Writer Sumeya Block sits down with Betsey Brock, Executive Director of On the Boards for a conversation about how art has impacted their lives and how they find connection in a virtual age - all while painting their nails! Arts Essentials with Eleanor & Becs

Fellow TeenTix Press Corps writer, Rosemary Sissel, and I were honored to interview Seattle Art Fair’s curator and artistic director, Nato Thompson. The Seattle Art Fair 2019 took place at Centurylink Field Event Center August 1-4.

You’ve attempted to create a wide array of different objects and pieces of art and magic that evokes the curiosity rooms of the 16th and 17th centuries, and reading your curatorial statement, it’s almost as if these rooms contained everything. So how is it possible to curate everything?

A tunnel of captive trees reflects itself into infinity. Pieces of wood arranged in the shape of Africa cast the shadow of a face. Another face, painted by many tiny newspaper words, loses its eye.

The Fair is a river of continual images, inviting viewers to look at, question, and interact with collections from nearly one hundred galleries from around the world—and the variety is staggering. A head is suspended upside down by steel cable. A nose is a shoe. A plunger is glass.

The boy with the warm brown eyes walked away down the sidewalk, turning back to wave before rounding the corner.

Think about that sentence. Visualize it. What did you picture? A busy city street or a suburban neighborhood? A teenager or a young child?

Whitney Mongé, an Alternative Soul artist originally from Spokane, got her start in the Seattle music scene in 2007. As a street musician, (busking in Pike Place Market), Mongé was enlightened as an artist. It was this time in Pike Place that spurred her into taking up music as her profession.

“I’m reclaiming the hell out of this space!” Rell Be Free’s shout echoed throughout the theater of the Vera Project, accented with dim blue and purple lights. A teenager with homegrown Seattle beginnings as a musician, Rell Be Free was one of the night’s featured musicians. These artists, youth who speak truth to power, prepared to make themselves heard through rap and spoken word performances at the Northwest Folklife Festival.

Through Creative Justice, youth are encouraged to share their stories using art as an alternative to completing traditional probation. Co-director Nikkita Oliver describes the program as offering opportunities to “liberate ourselves in a creative space.”

The 2019 Northwest Folklife Festival featured a new exhibit that put youth arts at the forefront. Fitting with Folklife's 2019 cultural focus of "Youth Rising," the A/NT gallery at Seattle Center featured the showcase of The Hydrant Lounge, a collective of youth arts leaders who came together to promote their work and form lasting partnerships within the art world. With an entrance facing the International Fountain, the central location of The Hydrant Lounge greatly facilitated the Lounge's popularity.

The Hydrant, the organization behind the Folklife display, is a youth-created and youth-led artistic "think tank" that seeks to promote emerging figures in the Seattle arts community. Urging young art creators of all kinds to "tap the Hydrant," the organization gives priority to young creators who, without a platform, may feel isolated in artistic fields that are often dominated by the older generations.

Each year we look forward to sharing the amazing stories of our GiveBIG SUPERSTARS with our TeenTix community. This year, we’ve added a “magic” word to this title to reflect the extra special nature of this group of devoted arts access champions who have transformed TeenTix with their consistent support. So without further ado, we’d like to introduce you to our first TeenTix GiveBIG SUPERSTAR SORCERER Betsey Brock! Betsey is one of just nine people in the whole world who has donated to TeenTix during GiveBIG every year since 2013!

Betsey has been a TeenTix fan from the beginning; she first got to know our programs through her good friend Holly Arsenault, the first Executive Director of TeenTix! At the time, Betsey was working at TeenTix Partner Henry Art Gallery, and her husband (curator and former art critic Eric Fredericksen) was asked to work with the TeenTix Press Corps, so the whole family soon got to see TeenTix’s programs in action... Not long after, her son turned 13 and signed up for his own TeenTix Pass. Today, as Executive Director of TeenTix Partner On the Boards, Betsey regularly works with TeenTix to foster an intelligent and engaged audience of young people.

On Wednesday, April 10th, I had the opportunity to interview Phillip Chavira, alongside two other members of the TeenTix Press Corps Intensive. Chavira is the Executive Director of the Intiman Theatre and, prior to coming to Seattle, was nominated for a Tony Award for his work as co-producer on the groundbreaking Broadway play Eclipsed. Eclipsed’s cast, director and playwright were all women of color.

Beezus Murphy: Yeah, I read that you were nominated for a Tony.

Jason Johnson, is local a punk musician, in three bands: Dogbreth, Itemfinder and The Exquisites. Their music makes you feel as if you’re at a rock concert. It's very real with live instruments; you can really feel the melody. It’s violently emotive. Each song has its own story, whether it’s about love or just wanting to hang out with friends and watch anime.

When did you start playing music? And why?

Recently, we were able to sit down with Jason Clackley of the Vera Project, an all ages music venue that showcases up and coming artists. He is also a part of two bands, The Exquisites and Dreamdecay. He talked with us about The Vera Project, his experiences, and about the path of new and emerging artists.

Where are you from and how long have you been making music?

The Vera Project has become a household name in Seattle since their founding in 2001. They hold shows for all ages with a strong value on no drugs or alcohol within the building, while creating a fun space for teens and adults alike. Many have seen shows, performances, and concerts at The Vera Project, but not many know of the significance it has on the local Seattle artists it partners with. From holding programs, to booking new artists their first shows, it is clear The Vera Project cares about its Seattle musicians and the music community it cultivates. One of these up and coming musicians is the young, dedicated, and inspired Hunter Grier. A fresh high school graduate, Grier, 19, has already released over twelve collections of songs and tells us he has more in the works.

Grier is a DIY artist. When I asked him what that means, he told me “DIY [do it yourself] culture is what the name implies. It’s doing it by yourself, being able to like take projects into your own hands.”

The Vera Project is an organization steeped in independent spirit. With roots in the D.I.Y. movement, the entire space hums with a deep reverence for creativity and individuality, and possesses a kind of unapologetic grittiness that’s rare in most mainstream venues. It feels like the grown-up evolution of a punk house—a place carved out by artists with the needs of artists in mind. One artist at the forefront of this carving is Jason Clackley, programs director for The Vera Project and long-time fixture in the Seattle music scene. Sitting before a backdrop of locally-illustrated zine covers, show flyers, and band posters, Clackley speaks animatedly about his youth, his experience with the local arts culture, and his evolution as an artist. His simply-stated personal history feels like a perfect extension of The Vera Project mission.

“I bought a guitar, and I started making music. I took a few lessons and started playing shows, and then I started doing my own shows, and I moved on from there.”

Rachel Barton Pine is an accomplished young violinist whose musical interests cross genres, incorporating classical, baroque, and heavy metal music. This Saturday, she will be conducting the Seattle Baroque Orchestra and performing works by Vivaldi, Pisendel, Telemann, and Handel all while playing the viola d’amore. Rachel currently is on a worldwide tour, but Audrey L. of the TeenTix Press Corps got the chance to interview her about her musical perspective and upcoming concert.

Can you describe your musical background? When did you start the violin and how has your career transformed since then?