Choreographer Spotlight on Dara Nicole

Welcome to our new blog and interview series! We’re catching up with RIWCP 2018 Dancer and 2019 Choreographer and Dancer Dara Nicole. We chat about everything from creativity and homemade salsa to aliens and PS4. Enjoy!

Photo courtesy of Aliza Razell

RIWCP: Tell us about your dance background.

DN: I am a dancer and choreographer in my fifth season with Festival Ballet Providence. I’m originally from Florida, where I received early training with Gloria Gaither before I moved on to train with Peter Stark and Ivonne Lemus at Next Generation Ballet at the Patel Conservatory. After my training, I found freelance work for a year with Sarasota Opera and Brandon Ballet. I then joined Nashville Ballet’s second company, where I danced for two years before joining Festival Ballet Providence.

A strong recurring theme with almost all my teachers in my training was an intense focus on musicality and detail. I think that focus instilled musicality and detail as values for me as a dancer, as well as training my eye to watch for these things. I believe this is one of the things that eventually led me to choreography. The idea that you can physically create how you hear music is something that I think will always excite me.

Pictured- Dara Nicole in dress rehearsal for a workshop piece by Dominic Walsh. Photo courtesy of Amanda Tipton

RIWCP: How did you first become interested in choreography?

DN: The idea of being someone who created dance was definitely something that teenage Dara wanted for herself, but I was very focused on making my career as a dancer happen, and since I saw no clear path towards being a choreographer, I more or less wrote it off.

I took part in RIWCP the first year as a dancer and was thrilled to be a part of something that was empowering female artists and giving back to the community. Besides being one of the few projects for female-identifying choreographers, it is also one of the few projects that allows choreographers who don’t have much to put on their reel (or in my case at the time of my application, anything to put on their reel), to apply.

The second year I applied to choreograph, a little bit on a whim, a little bit feeling like I might be about to change my path, and I was freaking out. I didn’t even tell my best friend I was applying because I had never tried to choreograph, and I was afraid this might end up being one of my worst ideas. I did get accepted, and I was very happy with the piece I made, due mostly to the dancers’ focus and commitment. As thrilled as I was to have created a piece, the finished product was not the most important part for me. The most important part was that throughout the whole process– my personal work on it, rehearsals with the dancers, collaborating on costume design and lighting– I felt a sense of belonging stronger than I ever had before. So actually, as far as being a career, that’s when I got interested. That’s when I knew. (Thanks, RIWCP!)

Pictured- Katherine Bickford and Jacob Hoover during a dress rehearsal for Vivisection, photo courtesy of RIWCP

RIWCP: How has your process/thinking evolved throughout your choreography process from the beginning to now?

DN: One thing that was really daunting to me as I considered the idea of beginning to choreograph was the task of making up the actual steps. It sounds simple, but there is just so much you can do with the body that coming up with movement still seems overwhelming to me at times. Over this past summer, I was talking to family friend and sometimes mentor, choreographer Dominic Walsh, and he said, “…the steps are the least important part.” And I thought, “Uh yeah ok, you’ve been doing this for a while, easy for you to say.” But I tried to think about what he meant a few times during the making of my second piece, and he’s right (don’t tell him, I don’t want him to rub it in).

In watching the final few runs of the piece, I realized that the parts of the piece I felt the strongest about were not one arm movement here or one jump there, but how the dancers’ steps worked in tandem– how the piece flowed, intimate moments between dancers that arose. I would say that moving forward, my process will definitely be influenced by this knowledge, and less by an urgency to make up a “cool move.”

Pictured- Alex Lantz, Charlotte Nash, and Katherine Bickford in rehearsal for ••-•F•-•R—-O-•N-T••I•E•-•R. Photo courtesy of Dara Nicole.

RIWCP:  You were commissioned to choreograph a piece for Festival Ballet Providence this season. How did you come up with the idea for that piece? 

DN: I developed the concepts for the Festival Ballet Providence commission roughly over the course of a year. The final version ended up being titled ••-•F•-•R—-O-•N-T••I•E•-•R. It is an abstract piece, but when creating it, I had two concepts that I wanted the piece to deal with: a group of five aliens that get stranded on earth and what might ensue amongst them as a result, and the five stages of grief. I am fascinated with how we all experience emotion so differently, and how negative emotions, like grief, can make you feel so isolated even if you have your “crew” with you physically.

This time last year, I heard this Lesley Gore song “Sunshine, Lollipops, and Rainbows,” which is this just overwhelmingly upbeat song from the 1960s. It sounded so over the top and ended so abruptly that it felt forced to me. So, I started to see these dancers in my head trying to match this aggressively upbeat song. I then began to think about them as having the same feeling of happiness, but in a forced and almost jarring way, and it made me wonder why they would be feeling that.

Around the same time, I was workshopping a gesture phrase with the intention of figuring out a way to make myself smile without using my facial muscles, and I started to connect the two ideas. Also, when improvising, a prompt I often use is: “If I stepped into my body for the first time, and I had all the strength I’ve built but had to figure out how to use it, how would I move?” So that made me start thinking: what if there was someone that was true for? Someone who was stepping into an adult human body for the first time, who was figuring out how to use the body and also how to express (and maybe even feel) emotion. That’s around when I decided they were a crew of aliens and started to actually workshop movement for each stage of grief/character.

Pictured- Melissa Wong in rehearsal for ••-•F•-•R—-O-•N-T••I•E•-•R , photo courtesy of Dara Nicole.

RIWCP: What is it like seeing the movement you came up with in your head translated onto the dancers?

DN: Honestly crazy. It’s still so new that every time I think, “Wow, I made that up? And someone’s doing it? Not as a joke?” The day my first piece, Vivisection premiered at RIWCP last year, I think I said “I made a thing that went onstage!” out of the blue to my boyfriend about 10 times. But honestly, the whole process is so great. I try not to “clean” on myself, and just figure out a rough draft of a phrase on myself. Figuring out what the phrase really is on the body that’s going to be dancing it is the fun part.

My concepts for ••-•F•-•R—-O-•N-T••I•E•-•R definitely took on new life when I started working with the dancers. I was lucky enough to be working with some very supportive and generous coworkers. They never made me feel like it was only my second piece or that they were taking me any less seriously than they would any other choreographer. They embraced, and usually expanded upon, the material I was giving them both physically and emotionally. This led to so much nuance and play in musicality, which are two of my favorite things to look for in dance.

Pictured- Charlotte Nash and Katherine Bickford in rehearsal for ••-•F•-•R—-O-•N-T••I•E•-•R. Photo courtesy of Dara Nicole. 

RIWCP: What are some of your sources of inspiration for your choreography?

DN: Definitely music. Sometimes just hearing a piece of music once will give me a whole idea for something, even if it’s not the music I’m going to choreograph to. I’ll sometimes make a phrase to music I know I’m not going to use for a piece but makes me want to move and think about movement. I’ll then test the phrase on music I want to choreograph to, see if there is a timing or muscality that interests me and move forward from there.  

I’m also huge into science fiction and do draw a lot of inspiration from that. I sometimes feel that really good dance can look otherworldly or inhuman. Whether through extreme grace, or athleticism, or a bizarre collection of movements, it is usually not something you would think to do casually. I feel there’s a lot of source material with aliens, monsters, and other sci-fi creations. I’m currently workshopping a piece about a wraith.

RIWCP: What advice do you give to dancers that are interested/curious about trying choreography?

DN: Get a buddy. Get a very patient buddy. Seeing movement on another body can be super important. Some things will look better on you because you figured it out on the shape you’re working with, and some things won’t. Both options are ok.

Be prepared for dancers who do not learn the same as you. I am a super visual learner and have a really difficult time focusing when someone tries to tell me what they want verbally, so as a result, my first instinct is to each phrases the way that I would learn. I feel when I am working with people who are not visual learners, it is my responsibility to take my time preparing so that I can at least try to meet them in the middle.

Go with the idea that makes you feel the most interested in what you’re doing. The idea that makes you feel the most present, the most you, and not necessarily the idea that seems like the “best plan.” The dance world needs more original voices all the time; it’s how we grow the art.

RIWCP: How has your work been affected by COVID-19?

DN: Unfortunately, COVID-19 forced Festival Ballet Providence, like most dance companies, to close for the rest of our season. In addition to affecting me as a dancer, this delayed the premiere of ••-•F•-•R—-O-•N-T••I•E•-•R, which was also my professional choreographic premiere. The day that my piece was supposed to go onstage was kind of a low day for me. So much art has been put on hold right now, which just feels sad.

It has, however, been so exciting to see other artists take this new challenge and thrive. So much site-specific work is happening right now! In a way, I feel the dance world has never been closer; artists are sharing raw pieces of work, companies are releasing footage of rare ballets, teachers all around the world are offering free classes of all types, dancers are reconnecting with old teachers, and so much more.

RIWCP: How have you been spending your time in isolation/quarantine?

DN: Lots of PS4. My boyfriend and I have recently gotten into The Witcher: it’s an awesome, very detailed game about a medieval monster hunter (it has actually partially inspired the piece I’m workshopping right now about a wraith). I also love to cook and have been using my free time to try recipes or try to make things I’ve never made before. I made salsa from scratch yesterday, and I may never go back. The attempt at a yeast starter, however, turned into something that might be on the verge of blowing up in my garbage can.

We also moved the guest bed into a different room, so I have a space to take yoga, improv and teach my two advanced contemporary classes with Festival Ballet Providence’s school. I do have to remember to close the blinds when I’m improvising phrase work though, definitely caught a weird look from a neighbor or two.

Pictured- before I remembered to close the blinds.

Thank you, Dara! Stay tuned to hear from another RIWCP Choreographer next month, and don’t forget to follow us on Facebook and Instagram, where we will be posting more content from our dancers and choreographers.