Annenberg beach house recently welcomed choreographer Holly Rothschild to their artist-in-residency program, a city initiative undertaken to promote arts in Santa Monica and to honor Marion Davies’ artistry and her support of artists. During her stay at the Annenberg Beach House, Holly Rothschild plans to organize several free workshops involving participation of the local Santa Monica community, and helping them in understanding various tools and techniques used in creating site-specific performances. During these workshops the participants will explore Beach House architecture and space and learn about dance vocabulary and “body tools” that play an integral part in the composition process.

Voice of Santa Monica’s Natasha Garyali interviewed Holly Rothschild, about her stay as Annenberg’s writer-in-residence, her journey as a choreographer, decision to move to Los Angeles from Chicago and more.

Natasha Garyali: How do you feel about your recent appointment as the ABH’s artist-in-residence?

Holly Rothschild: I am honored and excited to have received the artist in residence project. I have been working a lot with big groups and installations. This will be a great opportunity to use only what is available in the space and a small group of dancers. It is wonderful that they started this project. I hope the community comes out to enjoy it and take advantage of it.

NG:  Tell us about some of the projects you will be undertaking during your stay at the Beach House? Will it include community participation?

HR: On March 15th from 6:30-8:30, I am teaching a workshop that is open to the public. This is a free workshop where we will explore Beach House architecture and space and learn about dance vocabulary, body tools, record impressions, and at the end of the workshop co-create a short original performance. People should really sign up for the workshop (http://beachculture27.eventbrite.com) it will be fun. This workshop is designed for people of all age groups, dance experience levels and physical abilities. It will be a great experience and I encourage people to participate in the workshop. Participants should come wearing comfortable clothing.

I am also maintaining a weekly blog at Strangeandelegant.com. There are some specific things in my blog that I have included in my proposal. Also there will be open rehearsals scheduled in April which I will post on my blog.
The final performance which is also free to the public will take place on May 3rd 2010. We’re planning on doing it just before sunset so we can take advantage of the shifting light.

Also I am open to meetings, discussions during my office hours on Mondays from 11 am-1pm at the Annenberg Beach House. My office is on the 2nd floor of the Marion Davies Guest House, and everyone and anyone is welcome to drop by.

NG: You are originally from Chicago. What was it like to move to LA?

HR: Moving was a great change. Of course there is the weather but primarily there are greater opportunities here for the kind of work that I am doing. My primary focus is my company, String Theory which I started with my husband, Luke Rothschild and cellist Joseph Harvey. We have a performance ensemble that is comprised of musicians, dancers and sound sculptures. We also do music for film and TV.

NG: What were some of the challenges and opportunities that you encountered?

HR: It is challenging in general to have a performing arts company but it is totally worth it. We have done some great projects and are continuing to develop new work. A few weeks ago, we were out in the desert performing at the TED conference. Last year, we had an opportunity to perform our evening length work at The Eli & Edythe Broad Stage in Santa Monica. It is an incredible facility and a great place to see a performance. We will be back there next year and we are very excited about that. There is also a small black box called The Edye Second Space at The Broad Stage where I put together a program of contemporary choreographers in November.

NG: You are a dancer, choreographer, musician, educator. Out of all these which do you identify the most with?

HR: Right now, I identify most with being a choreographer. It shifts over time but that is what I am doing the most of right now.

NG:  Do you remember your early exposure to dance/ choreography?

HR: Yes. It was a lot of ballet….but I was tall and “big boned” so I always got cast as the witches and bitches which ultimately was great because it got me interested in theater. I work a lot with actors and movement. For years I was on faculty in the theater department at Columbia College in Chicago. I love working with actors and they most often really need the movement training. There are a lot of penguin arms and talking heads out there in the theater world. I also started choreographing plays during that time at Columbia. I haven’t really choreographed any plays since I moved to LA although I would like to. It is just that starting a company has taken all of my focus.

NG: Was there somebody in particular that inspired you?

HR: I am a huge Pina Bausch fan. I am wary of saying that she inspires me because I just haven’t seen anyone come close to her vision.

NG: How do you choose how to choreograph a poem or a story? What inspires you to find your movement?

HR: Unless somebody is specifically requesting that I choreograph the narrative clearly, I am more apt to create metaphor and imagery. I usually incorporate a lot of imagery in my material. Most often an entire piece is created to support an image that I get.

NG:  What are some of challenges that you constantly encounter as a choreographer and how do you deal with them?

HR: There isn’t a large audience for contemporary dance which is unfortunate. I think if people got out to see it they would love it. I also think that there are a lot of missed opportunities in the mainstream. There is so much dance happening in music videos and awards show etc but it is all the same thing. Otherwise, the biggest challenge is honestly, scheduling. Scheduling rehearsals is so difficult. Everyone is so busy and finding common times is extremely challenging. Once the schedule is finished, the fun begins.

HR: I am at a point where I’m really enjoying my process. I used to be way more uptight about worrying what other people will think about my work. In reality, there is always going to be someone who doesn’t like it and there is always going to be someone who does like it. I chose this work because I love it so that’s how I want to experience it. Not to say that I don’t enjoy some good anguish along with it once in awhile.

NG:  What would you be, if you would not have been a choreographer?

HR: I used to be a marketing executive for a big real estate company in Chicago. I quit my job to join a dance company. I don’t think I would become a marketing executive again although you do need a lot of marketing skills in this business.

I think I would be a director ~ I love making short film projects and in 2008 I did my first dance film which premiered at the Sans Souci Festival of Dance Cinema.

NG:  What are the three things that not many people know about you?

HR: There are two things. Firstly I grew up in a prison for 3 years then moved to a farm. Secondly I traveled around the world when I was in my 20’s.

NG: Thank you.

About Holly Rothschild:

Holly has collaborative and composed independent work which has been presented at the Broad Stage, TED, The Athenaeum in Chicago, the 2006 and 2007 Grammy’s, The Wintergarden in New York City, The Santa Barbara Museum of Art, and at many universities, and theaters throughout the U.S. and abroad. She is the founder and artistic director of Strange & Elegant Choreography and Performance Installations, a dance performance company that creates site-specific image based dance. She is also the co-founder of String Theory, a hybrid performance ensemble featuring musicians, dancers and large-scale sonic sculpture. As a movement educator, Rothschild has taught contemporary dance and performance workshops throughout the US to a variety of individuals including those with disabilities, senior citizens at San Francisco’s Theatre Artaud, actors at Chicago’s Second City and Columbia College, and contact improvisation at a correctional facility in Alaska.