By Anne Wharton
Rosely Conz demonstrating a turn for Merge dancers.
Your background in dance begins with ballet, correct?
Yes, ballet was my first language. I also studied contemporary styles and somatics at college. I went to a huge university and studied everything from physiology to anatomy, somatics, dance history, history of the arts. We had to do 4 semesters of music as well and we also did Brazilian dances every day; capoeira, styles influenced by Africa and some social dances. I also got my certification in Royal ballet.
Did you go straight from undergrad to grad?
I was teaching at a lot of studies after college. I was also a trainee for a funded company. And I was choreographing and dancing for small independent groups and writing grants. I moved up from trainee to the cast for the funded company, but when they lost funding I was in limbo. I ended up becoming a research assistant for a professor and it brought me back to academia and linked me to the university/alumni.
What were you investigating in grad school?
I was looking at how ballet creates movement patterns; bending, twisting. I looked at how somatic methods impacts learning in higher education. I was also doing body memory research and looking at neurobiology.
And you’re at Boulder, CO in their grad program now?
Yes, I was teaching somatics classes in the university after I got my MA in Brazil but when I was offered a fellowship to do a MFA in CO, I had to go.
What are you working on in CO?
I’m doing work with somatics, Alexander technique. I’m also looking at video, sound – interdisciplinary practices. I’m looking at movement sensors – triggering sound, and eventually light too. I also just did my concert. I tried to incorporate different medias in the concert and the themes revolved around foreigners, races and ethnicities.
So what is your concept for the piece you’re setting on Merge Dance Company?
I’m still invested in the concert I did last month, so I’m still swimming with ideas about roots, belongingness, falling, disorientation. The imagery of beets and onion, we’re using potatoes. I also received some feedback from their (Merge dancers) bodies and that influenced my piece.
Messing about with potatoes during rehearsal.
Why potatoes?
Well, the idea I’m working with is really big – immigration. It’s a huge mission. I try to distract myself with small things, small tasks. I don’t really know why potatoes. I’m crazy about potato chips though. In Brazil we have two brands of chips, Lays & Ruffles, here (in America) they’re huge. So maybe that was something. Originally I worked with onions; they are bitter and can make you cry but they’re also tasty depending on how you cook them. (talking about how the produce reflected her process in thinking about changing aspects of immigration).
What do you want the audience to take away from your piece?
I want them to feel intrigued; to have questions and talk to each other. I want to raise questions, if that doesn’t sound too pretentious.
Jona Cordero collecting potatoes in the piece.
What advice do you have for Texas State University dancers?
My advisory taught me about “playgiarism” (play + plagiarism) and I think that’s nice. Take from everything around you. And I would also say be open. Be open and collaborate with people. Go outside the dance building into other departments. We have a lot to offer and they want to work with us. It’s good for both sides.
Also, be there. If you’re invited or hear about a workshop or audition, just go. Just be there and something can come up, something wonderful.
Lastly, take care of yourself. Self-care is underestimated but you have to take care of you body and you have to take care of your emotions.
Do you have anything you want to add?
It was just a pleasure to be here. The faculty is so amazing and generous here. They are like real humans, willing to share and talk and see you. And the students are wonderful, really committed!
Photos by Anne Wharton.
TXST DANCE 