Welcome back to the Sweet Choreography blog – here to keep you up to date with the world of blues dancing performances, leading up to Sweet Molasses Blues in Boston July 25th-27th!
(Blue Midnight starts @10:55 in case the time jump doesn’t work for you)
Our first post this year if from the ever-inspiring Julie Brown! If you were at Enter the Blues in Atlanta you should recognize it because it took first place in the showcase competition there. I love how she combines the music and her physicality in this piece. It creates a really evocative mood without an explicit story, leaving the watcher with a lot of details to imagine.
What did you want to express with this choreography?
When I decided to choreograph to this song, I listened to it a bunch and saw the image of someone drunk, dancing to the moon. So that’s where I started.
Why did you choose the song for the piece?
I heard Jonathan Pechon DJ it once, and was like “Yessssss.” The song has a laziness and nonchalance to it, but also parts with a lot of emotion. There are tons of great textures to play with. And Little Walter is a boss.
What other dances and dancers influenced or inspired this one?
Well, they’re not dancers, but the character’s posture and movement was influenced a lot by Charlie Chaplin and one version of Patalone’s physicality from Commedia dell’arte. I also learned a little break dancing for it.
How did you go about combining your concept, song choice, and influences to create the finished choreography?
I listened to the song a lot while riding the train, walking around, etc. And got a vision of the character. Then I put on my costume and just messed around to the music until I came up with cool movements. When I got stuck, I watched some break dancing videos, and showed it to some people for feedback to work through it. Since the character came out of the music, and the character drove the movement, it was easy to “combine” the concept and song choice.