Page 4 / Sunday, September 19, 2010 Tallahassee Democrat / TLH

Eclectic choreographer blends hip-hop, humor

Miami-based Cuban-American choreogra-pher Rosie Herrera has acted in Latin cabarets, been a dancer for MTV and major rap artists, and performed with a host of professional modern-dance compa-nies all over the coun-try.

This month, she is the Choreographic Fellow at MANCC — the Maggie Allesee National Cen-ter for Choreography, housed within the FSU School of Dance — one of 14 professional art-ists from around the U.S. slated to be in resi-dence this year.

MANCC (pronounced “man-see”) opened in 2004 as a complete-ly new way to support dance research and development. For cho-reographers, MANCC provides unprecedented opportunities, not only for research and inno-vation, but also for col-laboration. This might involve the testing of new ideas on profession-al dancers, the inclusion of audiences in the cre-ative process, or work-ing closely with com-posers, visual artists, dramaturgs, filmmak-ers and lighting design-ers.

There’s no other place in the country that offers this kind of unique support. It’s a rare opportunity for a professional choreog-rapher such as Herre-ra and the culturally diverse “tribe” of per-formers (drag queens,

actors, break dancers and burlesque perform-ers) she has brought with her to Tallahassee.

Hip-hop to modern

“I was always a danc-er,” Herrera recalls. “I grew up dancing at all our family parties. I lived in a neighborhood populated by hip-hop and break dancers.”

She took her first modern dance class at the University of Flor-ida.

“It changed my life,” Herrera says. “Every-thing seemed to come together. I love the ener-gy of hip-hop, but mod-ern is a completely dif-ferent style of movement with the same energy.”

After two years, she transferred to the New World School of the Arts, where she got her BFA in dance perfor-mance. By the age of 19, Herrera had scored a spot in a professional company.

Now, at 27, she is

finding tremendous suc-cess as a choreographer. Last year, she was in residence at the Ameri-can Dance Festival in Durham, N.C. — the largest, most presti-gious modern dance event in the United States — an achieve-ment that puts her in the company of dance giants such as Martha Clarke and Paul Taylor.

Herrera is gaining attention for pieces that are a mixture of dance, music and the-ater. That’s not surpris-ing, when you consider her experience not only as a mime, cabaret per-former, show girl (“the world’s shortest show girl,” she laughs) and drag show choreogra-pher, but also as a clas-sically trained lyric col-oratura soprano.

“I’ve always had an identity complex with opera because I feel inside like I am Car-men and Medea, but I’m

By Randi AtwoodSPECIAL TO THE DEMOCRAT

Miami choreographer Rosie Herrera, on a fellowship at FSU School of Dance, is working on a piece called “Dining Alone.”

See DANCER, pAGE 5 / TLH

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TLH / Tallahassee Democrat Sunday, September 19, 2010 / Page 5

not,” she explains. “I’m 5 feet tall and my vocal cords match my body. Accepting the vocal cords I have is a lesson in accepting my body. This is what I was giv-en and anything is pos-sible if I accept it for what it is.”

“I’m Rosie from the block,” she quips, “and I try to keep my work as a reflection of my experiences and who I am.”

Her dance theater work often reflects the intense mixture of col-ors, sexualities and cultures of her native Miami, incorporating pop culture images and emotional situations that shock, amuse and stir audiences all at the same time.

‘Dining Alone’

Herrera is using her time at MANCC to develop a piece called “Dining Alone.”

“When I was young-er, my father owned a restaurant in Miami and I always had a gut reaction to people who dined alone,” says Herrera. “I thought, ‘There’s something here and I need to fig-ure it out.’ ”

Her feelings have triggered a larger search related to atti-tudes about dining situations, isolation and aging. Herrera’s research for the piece involved dialogues with many Tallahassee com-munity members.

Last week, she met with Ken Brummell-Smith, chairman of the Department of Geriat-rics at the FSU Col-lege of Medicine, and

with Hella Spellman at the Tallahassee Senior Center, to discuss feel-ings of loneliness and other issues related to aging.

“There is nothing like getting informa-tion right from the source,” says Herrera. “It allowed my dancers to become invested in the process. They got excited.”

Herrera and her troupe are incorporat-ing these local conver-sations and findings into movement impro-visations that are shap-ing “Dining Alone.”

“I’m usually very clear about what I want, but with ‘Din-ing Alone’ I am try-ing to work in a more collaborative manner,” explains Herrera. “It’s still all shaped and moved by me, but I’m trying this new way of

collaborating and see-ing what we can get.”

Although it deals with serious sub-jects such as grief and loss, “Dining Alone” will also be shaped by Herrera’s trademark humor.

“Humor is a power-ful tool, because I feel that when people laugh they connect instinc-tually. That gives me a lot of control. Things can go from happy and light to dark and mor-bid, and part of that emotional roller coast-er is to show both ends of the spectrum. I find that it’s easier for the audience to cry with me if we’ve just been laughing together.”

n Learn more about MANCC and future

opportunities to see the work of choreographic

fellows at www.mancc.org.

DANCERFrom Page 4 / TLH

Gilchrist students study the architectural arts

Each week, COCA (with the help of local teachers) will challenge you with questions illus-trating what local stu-dents learn in their arts classes.

Are you smarter than a fourth-grade art stu-dent?

This week’s questions are courtesy of Julie McBride, art teacher at Gilchrist Elementary School, whose students have recently been learning about architec-ture. McBride invites you to “Gilchrist Goes Global! An Evening of Art, Architecture, Geography and Litera-ture” to be held from 5 to 8 p.m. Tuesday at Gilchrist Elementary School, 1301 Timber-lane Road. It’s free.1. What art deco build-

ing was the tallest in the world in 1930? Can you describe the pattern at the top of that building?2. The Golden Gate

Bridge isn’t golden at all; it’s actually painted orange. How did the Golden Gate Bridge get its name? What kind of bridge is it?3. Why was the Taj Ma-

hal created?Do you know the

answers to these ques-tions? E-mail them to cultural@cocanet.org. The first person to submit a correct set of answers will “get a gold star” in next week’s TLH. Check back here next Sunday for the answers.Answers to last week’s

10th-grade art questions from Jeff Distefano:1. What’s the difference

between a core shadow and a cast shadow?

Answer: A core shadow is the shadow found on an object itself. The cast shadow is the shadow the object throws across another surface. Based on close observation, a 10th-grade student can draw two-dimensional images using techniques that make them appear three-dimensional. This teaches students to look carefully and objectively, seeing details that often

go unnoticed. 2. What are some of the

ethical arguments for and against “appropriation” in art?Answer: Copyright

law and tradition argue that an artist’s work is private property. Some artists challenge those ideas and believe that all artistic work builds on inherited art, culture, and traditions. High-school students know the difference between the intentions of artists who create original works and artists who appropriate and parody those works. This discussion of “ap-propriation” in art allows students to explore moral and philosophical ideas such as ownership and originality.3. What is the distinc-

tion between “high” and “low” art? How has that distinction changed in contemporary visual arts culture?Answer: Created

primarily for aesthetic purposes, “high” art, such as genre painting and marble sculpture, is typically associated with refined culture and the elite. “Low” art usually refers to things that are easily accessible and in the mass media, like pop music and comic books. In the visual arts, the line between the two is being blurred as graffiti and comic book artists are becoming more highly respected. High-school students use valuation criteria to as-sess and judge artwork. This teaches students to think critically and determine for themselves how significant a piece of artwork is based on their own perception.

SPECIAL TO THE DEMOCRAT

COCA NOTESDo you have an

upcoming concert, show, exhibit, perfor-mance or other arts-related event? COCA wants to know about it. Visit www.more-thanyouthought.com to post your event to the free, interactive community calendar.The Council on Cul-

ture & Arts takes a weekly look at the fas-cinating world of the arts and culture in our community.We tell stories of

people who feel they owe their non-arts related success to the arts. Send us your suggestions for artist profiles, news items (things like awards, honors, and competi-tion successes), story ideas or fun facts. E-mail COCA at cultur-al@cocanet.org.Visit COCA’s web-

sites for more infor-mation: www.cocanet.org, www.morethan-youthought.com, www.firstfridaytallahassee.com, www.the-arts-exchange.com.

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