Memphis Choreographs to the Soul of a City

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Creating Work That Matters: Memphis Choreographs to the Soul of a City

Dorothy Gunther Pugh, artistic director he didn’t stop to think when people were of Ballet Memphis, describes how a pivotal drowning—it wasn’t a question of color moment in Memphis’ history made its but a question of human beings and how way into her company’s repertoire. She he could save them. recounts the true story of Tom Lee, an African American river worker who This Memphis tale of a common man’s rescued  people—white engineers and uncommon valor found expression their families—from the riverboat M.E. in the February  premiere of “The Norman, which had capsized off the Rescue,” a five-part ballet presented as shores of the Mississippi in . Lee, part of The Memphis Project, Ballet who could not swim, not only saved the Memphis’ multi-year effort to create a survivors but also made several trips in body of new choreography that high- a small wooden boat to retrieve the lights the cultural, historical and musical bodies of those who drowned. As Pugh heritage of Memphis and the mid-South. explains, this fragment of local lore Choreographed by associate artistic director captivated her imagination as a child Karl Condon and set to the music of and inspired her as an adult to shape African American composer William Lee’s story into a full-length ballet: Grant Still, “The Rescue” brings to life Lee’s story and spotlights his abiding For about six years I have thought about respect for humanity in the face of telling this story through ballet. It’s a story economic and racial adversity. As Pugh I grew up on… As conservative as my sums up the ballet’s overarching theme upbringing was, there was a way that in her program note: “This heroic act people spoke about Tom Lee, and I could took place because this man, like many tell it transcended the idiocy of black and great people in the world, humble or not, white barriers. [The story] seemed like it famous or not, knew that we all matter.” had the ingredients for a good ballet because it evokes a moment of human transcendence Creating work that matters forms the …There’s action and a hero who does leitmotif of Pugh’s artistic vision for Ballet something incredibly admirable. And Memphis. Through the Memphis Project,

By Lynn Stern Creating Work That Matters / p. 2

she champions new repertoire that is THE BIRTH OF BALLET MEMPHIS: compelling and relevant for all Memphians: ARTISTIC LEADERSHIP THAT CONNECTS WITH THE COMMUNITY I keep finding myself thinking that I want Building a professional ballet company in to do work that matters. I know the work a city where dance was never a prominent has to matter to me because I’m supposed feature of its cultural landscape has not to be the visionary setting the tone at this been easy, though Pugh can’t imagine organization. But the work needs to matter having done otherwise. “I wanted very to other people, too. It matters that we enter much to stay involved in a world of honest the consciousness and daily lives of people expression, and that’s what [ballet] and help illuminate what they are thinking always was for me growing up,” she of, what they are happy about, and what explains. “Ballet was the avenue for me they are wrestling with. that seemed to have something that was physical, emotional and thoughtful, all For Pugh, Ballet Memphis’ pursuit of balled up into one entity. I’m one of artistry in the service of “bringing people those people who needs to be expressive together to be touched and thoughtful” or reflect the things that they see outside is an important justification for the of themselves and respond to it inside company’s very existence. As Pugh puts it, of themselves—whether it’s a book or a “Why wouldn’t a creative institution look poem, a painting or a ballet, or building a at what people are wrestling with and weigh ballet company or some other nonprofit.” in on it somehow? If we don’t fill a role in people’s lives, then why should we be here?” Propelled by her passion for dance, Pugh founded her ballet troupe in  with Pugh is not alone in her endeavors. two professional dancers and a budget of Alongside the classical canon, regional ,. As Pugh describes it, the troupe’s ballet companies increasingly produce formation came at a propitious moment dance repertoire that speaks to local in Memphis’ dance community, one values and identities. In doing so, they marked by the demise of the city’s only imbue ballet with new relevance for two professional dance companies. The contemporary audiences and, more broadly, city’s local arts council and several private advance the role of the regional ballet funders began to take notice of the young company as a vital voice for its community. company’s work and the quality of its children’s performances. They encouraged

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Pugh to consider building a professional looked to other mid-size regional ballet ballet company. “They asked me what I companies as models.“Before I hired our would do to build a professional com- dancers,” recalls Pugh, “I looked around pany, so I thought about it and told them to see if there were any cities similar what I would do,” remembers Pugh. to Memphis with community-spirited “Then they really started throwing some people who had built a ballet company in real money at me, saying ‘We believe their own hometown.” In the Tulsa Ballet, you’re the right horse to back.’” Pugh found a sister company in close geographic proximity that was birthed Pugh attributes the city’s early backing of in a community of comparable size and Ballet Memphis to the vision she shared character to Memphis. “Tulsa Ballet was with civic leaders of artistic leadership on the same parallel in terms of latitude that combined a passion for excellence —you just have to get on - and drive and a strong desire to connect with the west seven hours,” remembers Pugh. “And community. “Community leaders here I knew that Moscelyne Larkin, who is a wanted someone with whom they could Tulsa native and former Ballet Russe dancer, communicate,” says Pugh. “They under- returned there to found the company.” stood that I cared about the community and that I was well-positioned to be a For Pugh, the similarities between the connector and a communicator in this two companies and two cities were city.” Pugh also credits her Memphis striking and inspiring. As Pugh recalls heritage as another quality that appealed her thinking at that time, “Here’s a group to the company’s early backers: “I think that is also committed to its community. that’s another plus for me—this is my They’re in a mid-size city of a certain town, this is where my grandparents and culture out in the middle of nowhere, parents lived. I know instinctively the like Memphis is. And Tulsa was a one-in- territory and the culture. I’m cut from the dustry town, which is the way you could same cloth as much of the constituency look at Memphis today: the major that I have to depend on.” industry we have here is transportation and distribution; Tulsa had oil.” LOOKING WEST ON I-40: TULSA BALLET AS A MODEL For a time, Tulsa Ballet’s administrative and artistic staﬀ formed a mentoring As Pugh contemplated what form her relationship with Ballet Memphis. Says professional company would take, she

Pugh: “We sent some of our better, upper broadcasts. “We just started doing things level kids to do workshops with them, that people knew,” explains Pugh. “People and their executive director came to talk didn’t know ‘Coppelia;’ they knew to our board about what it was like to the Peabody Hotel.” run a professional company. When Tulsa Ballet performed here, they put all our Inspired by the success of these early upper level kids in their production so pieces, in  Pugh contacted Trey that everyone had the experience of being McIntyre, a young choreographer whose around a professional dance company. star was rising in the ballet world, to I felt that Tulsa Ballet already had a lot of discuss creating “Memphis,” a work that expertise, so if I could associate our folks would draw upon the city’s popular music with theirs, it would be an eye-opening heritage and become a signature piece for experience.” the company. In researching “Memphis,” Pugh was reminded of the powerful SEEDS OF THE MEMPHIS PROJECT cultural phenomenon that transcended Putting down roots in a community with geographic boundaries and the city’s no previous tradition of a professional history of racial and class divisions. ballet company posed its own unique set “Because of the music that came out of of challenges for Ballet Memphis. Memphis, clothing changed, all kinds of To build audiences who may not be things changed,” explains Pugh. “Black familiar with ballet’s classical canon, music and white music got pulled together Pugh followed her own personal passion over at Stax, Sun, and other smaller for Memphis’ local culture and heritage Memphis recording studios, and the and her strong desire to connect ballet to world was transformed.” It was emblematic what Memphians knew and loved. “Be- of the kind of role she hoped Ballet fore we even hired our ﬁrst paid dancers, Memphis could play in the city’s civic we did an all-Memphis music night,” life, by linking ballet to Memphis’ musi- recalls Pugh. “The program included cal and cultural heritage: a jazz piece, selections of W.C. Handy, and Elvis Presley’s music.” The company The very city where Martin Luther King also performed “At the Peabody,” a new Jr. was killed was also the city where art piece inspired by Memphis’ legendary bypassed color in all these incredible musical hotel, which gained national notoriety forms—blues, rock n’ roll, soul and gospel in the s for its big band music radio music. It’s a metaphor for putting behind the things that divide us and ﬁnding the

things that unite us. And if I can be involved LOCALLY-THEMED PROGRAMMING in something that can do that, which is THAT EMBRACES what art can do, I’m all for it. If we can start THE WHOLE COMMUNITY waking up people to what our capacities While the depth of Ballet Memphis’ can truly be as human beings, singularly commitment to the creation of locally- and together as a community, then I am themed work through the Memphis Project a woman with a mission here. is unique, Andrea Snyder, executive director of Dance/USA, observes that a In the wake of the critical and popular growing number of regional ballet success of “Memphis,” Pugh formulated companies are mining the history and the idea of the Memphis Project, which culture of their home communities in would tap choreographic talent within new work. She cites as an example the company’s own ranks and guest Eugene Ballet, whose artistic director, choreographers to create a body of Toni Pimble, created a new ballet inspired Memphis-themed work. The project’s by Southwest Native American culture. launch coincided with the release of “There have been a lot of ‘Nutcrackers’ the Rand Corporation’s study on the built on local scenes,” adds Snyder. precarious state of mid-size performing “Charleston, Hartford, and Tucson have arts organizations in the .. The study all re-crafted ‘The Nutcracker’ to reflect prompted Ballet Memphis’ leadership to local values and local identities.” Snyder discuss ways in which it could differentiate also takes note of larger ballet companies, itself among other regional ballet such as the Houston Ballet, whose artistic companies, and helped galvanize board director, Stanton Welsh, recently created support for the Memphis Project. a whole evening of work on Texas themes. “If we’re a mid-size institution, we’re “So even at the higher level,” says Snyder, either going to get gobbled up and vanish “there’s a real desire to provide work that or we are going to have to find something reflects on stage what the people in the that makes us singular,” says Pugh. audience see and who they are.” “So that’s another reason why we’ve been working on the Memphis Project.” With the Memphis Project, Martha Ullman West, senior editor and advisor at Dance Magazine, believes Ballet Memphis is breaking new ground in terms of making ballet relevant to people of all colors.

West attended the February  premiere is another reason for us to look at who we of the Memphis Project’s “As the Spirit are and what we do…This city is now over Moves You” program, which featured 50% African American, and so our white, “Grace,” a new work choreographed by European-based art form has really got to Trey McIntyre and set to gospel music be shaken up. performed live by students of the Stax Music Academy and the LeMoyne Owen Stax Academy artistic director Marc College Gospel Singers. “I think the Willis, who collaborated with Ballet company’s responsiveness to the Memphis Memphis on “Grace,” observes that many community and to the culture of the city of Memphis’ major arts institutions are is pretty unique,” says West. “I was very beginning to re-evaluate their missions in impressed by the size of the African light of the city’s demographic make-up. American audience at every performance.” A key imperative for them, Willis believes, That level of audience diversity, says West, is to develop programming that speaks to is not typical of most ballet performances a broader diversity of Memphians in a she attends. “I have been in Nashville a genuine and sustained manner. Although couple of times to see the Nashville Ballet the city’s major arts institutions are moving which is comparable in size to Ballet toward becoming more inclusive in their Memphis—it’s a very different community, programming, Willis considers Ballet but there is a significant population of Memphis in the vanguard of that effort: African Americans in Nashville, though I don’t see many in that audience.” Because of the diversity of the city, I think that arts institutions are in a position where Creating new work that is compelling and they need to evaluate what they do…I think relevant to Memphis’ African American Ballet Memphis is trying to do that…Where community is one of the goals Pugh hopes I credit Dorothy is that she’s embraced to achieve through the Memphis Project: [diverse programming], and she’s doing something about it. To some degree, she may I think [the Memphis Project] has connected be even upsetting some of her longstanding African American audiences to ballet subscribers, and that’s a little risky and somewhat. I think the African American daring since you’ve got to continue to get community is starting to think, ‘There funding to do these kinds of things in a really is a Memphis arts institution that sustained way. My feeling is that Dorothy cares about the community as a whole and is on the cutting edge of [this trend]. our story here.’ Changing demographics

Ballet Memphis board chair LeeAnne recognized as the field’s “economic Cox points to the company’s strong engine” and educational resource. community focus as its defining feature Regional ballet companies have been and among the city’s cultural institutions and continue to be the major employers of the key to its long-term viability. “We’re dancers, to a much greater extent than trying to figure out what we need to modern companies or non-affiliated become in order to stay viable” she says. free-standing artists. “We see the regional “I think we’re going to need to be nimble ballet companies not only as repositories and to become a unique voice for our of history and of more traditional kinds heritage and for the community.” of dance,” says Snyder, “but as a great connector in the dance ecology because THE ROLE OF THE REGIONAL of their ability to hire and keep on the BALLET COMPANY: THE DANCE payroll a tremendous number of dancers.” FIELD’S FLAGSHIP INSTITUTION AND With fewer and fewer arts education THE COMMUNITY’S CULTURAL ICON programs in the schools, regional ballet companies are increasingly called upon to Ballet Memphis’ evolution as a ballet fill that educational gap. “Regional ballet company and “voice” of its community companies have become the strongest speaks to broader trends in the dance educational resource for the art form in field that are reshaping the role of the the community,” says Snyder. mid-size regional ballet company in the .. “Clearly the regional ballet movement, Snyder observes that regional ballet which is now over thirty years old, is an companies have also emerged in recent extraordinary story of how local civic years as cultural icons within their institutions created their own visibility communities. This new trend is and value,” says Andrea Snyder. “From particularly noteworthy, Snyder points our perspective, they are the field’s out, because most mid-size regional ballet flagship institutions, particularly with companies are not visible. They don’t regard to the public visibility they provide often own their own homes, and their for the art form of dance.” seasons are short. Snyder credits their ascent to “cultural icon” status to the Over the last three decades, regional ballet increased recognition by a broader public companies have evolved into an essential of dance as an important art form: and dynamic component of the dance ecosystem. They are now increasingly

Dance has typically been dismissed as an art corporations generally support large size form—people see it as ‘throw away’ stuff. ballet companies to get the most visibility I think, by virtue of regional ballet companies for their marketing dollars. Regional ballet rooting themselves so well in their companies are increasingly dependent on communities, they’re no longer discounted. individual donors, says Snyder. Even the Ballet Memphis-sized companies, as opposed to the larger companies, are According to Snyder, regional ballet really considered valuable in their companies also face fierce competition communities. They are important, from major touring companies. “Regional and people understand that. ballet companies struggle more to stay on the radar screen when a blockbuster tour COMPETING FOR TICKET BUYERS comes to town,” says Snyder. “They have AND DIMINISHING RESOURCES: a harder time holding on to their ticket REGIONAL BALLET TROUPES buyer base.” Placing the struggle for ticket STRUGGLE TO SURVIVE buyers within a broader context, Martha While regional ballet companies enjoy Ullman West observes that performing greater recognition for their contributions arts groups find themselves vying for to the dance field and their local audiences’ attention with the ever- communities, they are particularly expanding avenues of popular entertainment, vulnerable to the vagaries of the economy be it the Broadway blockbuster tour, and increasing competition for Americans’ professional sports teams or the latest entertainment dollars. In the funding gadget in home entertainment. “People arena, where competition for state and don’t like to go out anymore,” says West. corporate dollars has intensified, the “It’s true for ballet and modern dance…. regional companies —the dance field’s We’ve got so many electronic toys to keep “middle class”—have had and will us in the house. One artistic director of continue to have greater difficulty a regional ballet company told me he maintaining corporate and state support. thought his stiffest competition was the “Just as we see the middle class in this video game.” country gets the bad end of both sticks, it’s the same for ballet companies of this A NEW “HOME” FOR particular size,” says Snyder. “The decline in CHOREOGRAPHIC INNOVATION state funding has significantly impacted One bright spot on the horizon for regional the mid-size companies, more so than the ballet companies is their increasing im- larger institutions.” Snyder also notes that portance to the dance field as innovators

—a role not previously associated with re- are often better positioned than larger gional companies. “Historically, regional companies to provide a nurturing setting ballet companies haven’t necessarily been for young choreographers. “I think an recognized for field leadership in the ongoing relationship with a choreographer dance community,” explains Snyder. has everything in the world to do with “By virtue of their institutional base, the development of an emerging which makes them slower moving in choreographer,” says West. “The regional some senses, regional ballet companies ballet companies give opportunities to aren’t identified as the ‘change-makers.” young choreographers that larger Yet, the high production costs associated companies might not.” with full-scale ballets have made the creation of new work an economic necessity If regional ballet companies are becoming for many regional ballet companies. the home of ballet’s future, then Ballet “Many mid-size companies are not able Memphis is on the cusp of that trend. to do full length works in the same way “I want to push the art form beyond as their larger counterparts because these assumption because ‘assumption’ is productions are so expensive,” says Snyder. probably a death knell,” says Pugh. “I “So they survive on the creation of new think creating new work is a necessity.” work. And that is where, hopefully, the Pugh also envisions Ballet Memphis as an voices of ballet artists will continue to incubator for young choreographic talent: grow and where there will be more “I would hope that I am contributing invention of contemporary ballet and somewhat to nurturing choreographers fusion of new forms.” While ballet who are very thoughtful about what companies of all sizes are engaged in the they’re saying and how they say it.” creation of new work, Snyder believes the preponderance of new work is to be Trey McIntyre, who is currently found at the mid-size level. choreographer-in-residence at Ballet Memphis, says some of his most rewarding West agrees that regional ballet compa- experiences as a choreographer have nies are playing a significant role as field been working with companies of Ballet innovators. “I think the role of regional Memphis’ size. “In the larger companies ballets in advancing the art form is huge,” there’s a lot more competition among she says. “The smaller companies are a dancers,” says McIntyre. “There’s a lot less testing ground for new work.” West also opportunity for the entire company to get points out that regional ballet companies to dance and there’s more of a quest for

status. At companies the size of Ballet ongoing relationship he has developed Memphis, everybody gets the chance to with Ballet Memphis’ dancers enables dance.”McIntyre also observes that dancers him to pursue new pathways for choreo- at regional ballet companies have a graphic exploration and experimentation: greater appetite for working with a guest choreographer. “Dancers [at regional I don’t have to teach the basics about what’s companies] have a limited choreographic important to me and the journey that I’m diet so they have a greater hunger when on. I feel like we can continually pick up new experiences come in,” says McIntyre. where we left off and go to the next step. “There are fewer choreographers working How can we push this further? There are a with them, so when I am there they just lot of things the Ballet Memphis dancers throw everything they have into the just know intuitively—especially the dancers experience.” One of the downsides of that have been there over the long haul. working with smaller companies is the I don’t have to explain the ﬁner points … limited resources available for new work. Suddenly I’m opened up to how I can “I feel Ballet Memphis in particular does re-explore this, what new ways I can push very well with the resources it has,” says this, what new things I can try in ways McIntyre, “but there are limits to what that I absolutely can’t with other companies. we can do from the technical and design side.” McIntyre believes his ongoing McIntyre recognizes that his relationship relationship with Ballet Memphis has with Ballet Memphis is not the norm for contributed to his development as a most young choreographers. “There are choreographer. “Where I am career-wise, not a lot of opportunities for choreogra- there is an expectation that I will be phers to develop in this country,” he says. seeking out artistic directorships, and I’ve “It’s economically tricky, and it’s harder certainly entertained that over the past for ballet companies to take risks with couple of years,” says McIntyre. “As much people who aren’t proven in what they do as I think some of the perks of that job yet.” A unique aspect of McIntyre’s would be enjoyable, I really just want to relationship with Ballet Memphis, he concentrate on the creative end of it. And says, is the creative freedom entrusted this relationship with Ballet Memphis has to him by Pugh: aﬀorded me that.” McIntyre also values the opportunity to develop a deep connection with Ballet Memphis’ dancers. As McIntyre describes it, the

Dorothy and I both share this need and Memphis, I am challenged to focus on what desire to make work that is significant … this choreography means and how it impacts work that is not merely decorative or the community. How can it be more relevant? entertaining. She’s willing to go out on a I think ‘ballet for ballet’s sake’ becomes more limb in significant ways as long as she feels and more obsolete as time goes on. It’s not a it’s justified conceptually. She’s been able to part of American culture for sure. And we’re take lots of leaps of faith. And I certainly going to evolve away from [ballet] if we feel as a choreographer complete freedom to don’t adapt, grow and listen to the needs of create the kind of work I want to create. the greater community. I know there will probably be a very intense discussion with her about it, in terms of justifying it and understanding it, but I don’t feel restricted in terms of what I can make for the company.

McIntyre hopes that other ballet companies might look at the Memphis Project as a model for their communities. “I think the Memphis Project is a great example of paying attention to one’s own community and taking seriously the fact that you’re the name company in the city,” he says. McIntyre also notes that the Memphis Project has challenged him as a choreographer to listen to the Memphis community and question how his choreography has relevance and impact beyond the dance world. The future of ballet, suggests McIntyre, depends on choreographers that listen to the needs of the greater community:

How does my work relate to the whole world? And how does it fulfill something that’s grander than just me? In the case of