Parts II-V Sabbatical Leave Report

II. Re-statement of Sabbatical Leave Application

The intention behind this sabbatical proposal is to study contemporary dance forms from internationally and nationally recognized artists in Israel, Europe, and the U.S. The plan is to take daily dance class, week long workshops, to observe dance class and company rehearsals, and interview directors, choreographers, and artists to gain further insight into their movement creation process. This study will benefit my teaching, choreographic awareness, and movement research, which will benefit my students and my department as courses are enhanced by new methodologies, techniques and strategies. The second part of this plan is to visit California colleges and universities to investigate how contemporary dance is being built into their curriculum. Creating a dialogue with my colleagues about this developing dance genre will be important as my department implements contemporary dance into its curriculum. The third part of the sabbatical is to co-produce a dance concert in the San Diego area showcasing choreography that has been created using some of the new methodologies, techniques and strategies founded and discussed while on sabbatical. I will document all hours in a spreadsheet submitted with my sabbatical report. I estimate 580 hours.

III. Completion of Objectives, Description of Activities

Objective #1: a. To explore, learn, and document best practices in Contemporary Dance b. I started my sabbatical researching contemporary dance and movement. I scoured the web for journals, magazines, videos that gave me insight into how people in dance were talking about this contemporary genre. I also read several books that were thought-provoking about contemporary movement, training and the contemporary dancer. The best of the information is documented in this report in appendix I. This information can also be found online at http://davesdances.com/sabbatical/ under What Is Contemporary Dance? and Thoughts by Contemporary Dancemakers.

People were incredibly generous allowing me fantastic opportunities on my sabbatical. I was able to study and observe with such international dance companies such as BODYTRAFFIC, in Los Angeles, Batsheva Dance Company, Kibbutz Contemporary Dance Company, Vertigo Dance Company, in Israel, and Gallim Dance, and LeeSaar The Company, while in New York. I also attended many other contemporary dance performances, as well as took and observed contemporary dance classes, all of which are documented in appendix V. I spoke with several of the artistic directors from these companies, three of which allowed our exchange to be recorded. Others didn’t allow a recording of our conversations. The recorded interviews can be found at http://davesdances.com/sabbatical/

I created a list of words and phrases that I kept hearing, or that I developed because of things I was hearing frequently, which I will now use to speak about movement, create movement, and generate energies in all of my courses and choreography. These words/phrases will help strengthen my teaching methodologies, strategies and techniques, because they speak clearly and articulate meaning to the dancer, without explaining, giving dancers the opportunity to explore, create, and work collaboratively with the choreographer/instructor. They’re also extremely useful in the choreographic process, in a dance technique course, or in a dance composition course – any time while working with dancers or speaking about dance. Along with these words/phrases, I included a dictionary of Gaga terms. (Gaga is a contemporary movement language developed by Ohad Naharin, who is artistic director of the Batsheva Dance Company, in Israel – where I was fortunate to go during my sabbatical). Both of these lists of words/phrases and terms can be found in appendix II.

I included videos of some exercises/tasks that I’ve started to use to create movement along with strategies that I use to create different movement qualities with the dancers. These new techniques give an active, creative voice to the dancers. These videos can be found at http://davesdances.com/sabbatical/ under the headings Movement Creation Processes and Movement Quality. c. I spent 352 hours on these activities.

Objective #2: a. Investigate the direction contemporary dance is moving into academia b. I spoke with universities and community colleges about contemporary dance. Specific schools are documented in appendix III. These conversations confirmed my thoughts that there is still much conversation to be had about what contemporary dance is. Maybe we’re on the precipice of a budding

Dave Massey - Page 2 of 20 new dance genre, but as of now, there is no clear definition and without it, it is difficult to call contemporary dance a defined dance genre. Contemporary dance exists because of the definition of “contemporary”. The Merriam-Webster online dictionary defines contemporary as “happening, existing, living, or coming into being during the same period of time; marked by characteristics of the present period”. Therefore, contemporary dance is a catch-all category most popularly used by television’s So You Think You Can Dance and perpetuated in the competition dance world. The more accurate terms might be subsets of already existing dance genres, such as: Contemporary Jazz, Contemporary Modern, Contemporary Ballet, Contemporary Hip Hop, etc.

Both 2 year and 4 year schools were “thinking” about contemporary dance. This is where the discussions got very interesting. I found that if the faculty member that I was speaking with, had expertise in Modern Dance, then he/she stated the necessity of creating Contemporary Modern Dance as a way to make a distinction from classic modern dance (modern dance from the era of Martha Graham, Doris Humphrey, Katherine Dunham, Lester Horton, etc.). The same was true of ballet professors. They saw the need for Contemporary Ballet to differentiate from Modern Ballet. Also, the same train of thought existed for jazz instructors who saw the importance of differentiating classical jazz (Luigi, Matt Mattox, Gus Giordano, etc.) and Contemporary Jazz. This happened again and again when I spoke with professors whose focus was in dance technique.

Professors that were dance historians had a broader thought process about contemporary dance. Some agreed that contemporary dance was comprised of dance that was happening today, in the various dance genres, but not a genre in itself. Others stated that contemporary dance was a developing dance genre. Not quite definitive at this point, but could see it coming to fruition in the future.

One university, in our own region, had a unique view point on contemporary dance. They didn’t believe contemporary dance to be a dance genre, and didn’t like the term because it was so ill defined. They are thinking about using the term “experimental” dance and creating their own definition.

As I align academia’s views, with artists in the professional world, they are not wholly the same. Most of the professional artists I spoke with think that contemporary dance is a legitimate, or at least a burgeoning dance genre. They speak of the freedom and the fusion that the contemporary genre offers them to be able to commix modern, ballet, jazz, hip hop seamlessly and create beautiful dance works. They don’t feel constrained to conform to a specific style, but can play, change and mingle dance styles however they wish. This is the freedom that is observable as I view contemporary dance.

Because the schools I spoke with were still in the thinking stages of how they might create coursework in contemporary dance, no concrete courses were shared. What was valuable is the conversation that began among colleagues. It was helpful for us to see where and how contemporary dance could fit into each program. c. I spent 52 hours on these activities.

Objective #3: a. Co-produce a dance concert in the San Diego area and create choreography for the dance concert b. This was a fantastic experience! Two choreographers, a lighting designer and I sat down and created a plan where we would self-produce a dance event in the San Diego area. Venues were located and checked out. Dancers were auditioned. Lighting instruments were rented and borrowed. I settled in to the choreographic process. After all of the sabbatical opportunities of watching contemporary dance performances, observing contemporary dance classes and rehearsals, reading about contemporary dance, looking at video, I was excited to start my own choreographic process in contemporary dance. To develop the movement, I used several techniques and strategies that I list in appendix II, along with some of the movement creation process that can be found under Movement Creation Processes and Movement Quality at http://davesdances.com/sabbatical/.

Another major part of this process was finding music. I spent lots of time listening to music. I wanted to incorporate mixed dynamics and movement qualities into my piece. The music score/soundscape had to be in sync with this desire. The music/sound was finally narrowed down to five pieces. Then the process of editing it together began. I used Adobe Audition to edit my music. Some of the music was elongated, some shortened, some mixed together, and then all of it changed and changed and changed again as the choreography developed. The finished choreographic work, along with the soundscape, can be found at http://davesdances.com/sabbatical/ under the heading AWAKENINGS.

Dave Massey - Page 3 of 20 As part of this process, I was also tasked with creating the evening’s program. This required the use of Adobe Photoshop and Adobe InDesign. This took some time, but was another creative outlet. A copy of the program can be seen in this document in appendix IV. c. I spent 197.5 on these activities.

IV. Contribution to District a. This sabbatical gave me opportunities that I had never afforded myself before. I was able to delve into this contemporary dance research by reading, observing, dancing, communicating and networking on an international stage. I’m exhilarated to get back into the classroom and department, to share my new thoughts and ideas about movement with my colleagues and students. I have become a better educator because of these sabbatical experiences.

b. The students are already benefitting from my experiences in and outside of the classroom. The creation process has become collaborative, giving the dancers an artistic voice in the development process. The new vocabulary helps them understand the movement qualities I’m looking for. It also allows me to convey my ideas to them as they progress and explore their own choreographic processes.

I have broadened my breadth and scope of expertise in the contemporary dance conversation because of the experiences I had on my sabbatical and will be able to strongly represent our department as this conversation develops. I’ve discussed, with my dean, about writing two new Contemporary Jazz dance courses. By dividing the massive scope of what jazz dance entails, it will help give our students a greater understanding of what contemporary jazz dance is and can be. Contemporary dance seems to be on every dancers mind and being able to offer contemporary dance courses will bring more attention to our program, which hopefully translates to increased enrollment.

The college benefits by having faculty who are engaged and experts in their field. This sabbatical, besides being rejuvenating, has allowed me the opportunity to gain increased expertise in my field. When it comes to attending conferences like the American College Dance Association, which I will attend in April, I feel I will represent our college well, and will be a leader in the conversation of contemporary dance.

Reaching out into the MCC community was part of my third objective. Bringing community together is both exciting and valuable. It was awesome to see the performance venue filled with students, community members, San Diego dancemakers, MCC faculty, and other school faculty that had come together for an evening of dance. The discussion after the performance was stimulating, eye-opening and a tremendous learning tool as insights and opinions were discussed and friendships were made and renewed. I came away knowing that more events like this are necessary. This is how “community” is built and strengthened.

V. Documentation

HOURS DEVOTED TO EACH ACTIVITY OBJECTIVE #3 OBJECTIVE #1 OBJECTIVE #2 (Co-produce a dance (Explore, learn and (Investigate the direction WEEK OF: concert in the San Diego document best practices in contemporary dance is area and create Contemporary Dance) moving into academia) choreography for it) 8/14/2016 19 8/21/2016 27.5 2 8/28/2016 43 9/4/2016 28 2.5 9/11/2016 22 6.5 9/18/2016 59 4 9/25/2016 54 3 10/2/2016 56 4 10/9/2016 2 6 27 10/16/2016 6 23 10/23/2016 30 10/30/2016 11 23 11/6/2016 7.5 29

Dave Massey - Page 4 of 20 11/13/2016 3.5 46 11/20/2016 3 11/27/2016 7 12/4/2016 5.5 12/11/2016 12/18/2016 12/25/2016 1/1/2017 2 1/8/2017 9 1/15/2017 1/22/2017 3.5 1/29/2017 22 2/5/2017 5

TOTAL HOURS ACCUMULATED FOR EACH ACTIVITY 352 52 197.5 GRAND TOTAL OF 601.5 HOURS

Sum total of hours completed for approved activities: 601.5

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Appendix I

CONTEMPORARY DANCE RESEARCH

The works cited below are the best articles, video, journals and books that I found during my research of defining contemporary dance. I gained a deeper understanding of what a broader dance community termed contemporary dance by, reading the materials below. For those wanting more information about contemporary dance, I highly recommend the body of work below. This information can also be found online at http://davesdances.com/sabbatical/.

Bales, Melanie, Nettl-Fiol. The Body Eclectic: Evolving Practices in Dance Training. University of Illinois Press, 2008

Bhargav, Aranyani. “What is contemporary dance?”. The Hindu, 2016, retrieved from www.thehindu.com/features/friday-review/dance/what-is-contemporary-dance/article5096022.ece

Boughen, Shaaron. “Explainer: what is contemporary dance?”. The Conversation, 2014 retrieved from theconversation.com/explainer-what-is-contemporary-dance-25713

“Exquisite Corps (42 choreographers, 1 dance)”. YouTube, directed by Mitchell Rose, 2015, retrieved from www.youtube.com/watch?v=B3pFxsYPLgU

Fisher, Jennifer. “When Good Adjectives Go Bad: The Case of So-called Lyrical Dance”. Dance Chronicle, 2015, retrieved from www.researchgate.net/publication/267457623_When_Good_Adjectives_Go_Bad_The_Case_of_So- called_Lyrical_Dance

Foster, Susan Leigh. “Performing Authenticity and the Labor of Dance”. 2014, retrieved from www.fluidstates.org/userfiles/files/Susan%20Foster%20- %20Performing%20Authenticity%20and%20the%20Gendered%20Labor%20of%20Dance.pdf

Kourlas, Gia. “Time to Put Choreography Back on its Feet”. New York Times. 2010, pp. AR7, retrieved from www.nytimes.com/2010/09/05/arts/dance/05label.html.

Looseleaf, Victoria. “Modern vs. Contemporary”. Dance Magazine, 2012, retrieved from dancemagazine.com/inside-dm/modern_vs_contemporary/

Manning, Erin. Relationscapes: Movement, Art, Philosophy. The MIT Press, 2009

Olsen, Andrea, McHose, Caryn. “The Place of Dance: A Somatic Guide to Dancing and Dance Making”. Wesleyan University Press, 2014.

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THOUGHTS ON CONTEMPORARY DANCE BY CONTEMPORARY DANCEMAKERS

Ohad Naharin • Interview - https://www.youtube.com/watch?v=ZNJI5m2RZEY • About Gaga - https://www.theguardian.com/culture/australia-culture-blog/2014/mar/08/ohad- naharin-going-gaga-is-the-difference-between-dancer-and-gymnast • About Gaga - http://www.nytimes.com/2015/09/19/t-magazine/ohad-naharin-dance-profile.html?_r=0 • Working with dancers - https://www.youtube.com/watch?v=TxFxuHdXtx8 • Company/Political - https://www.youtube.com/watch?v=a4Vuqi6RLXg • What is Gaga? - https://www.youtube.com/watch?v=yPcxl4mXUIs • James Graham about gaga - https://www.youtube.com/watch?v=6ZXfG3Y3ZpY • Out of focus - https://www.youtube.com/watch?v=TxFxuHdXtx8&t=252s

Jiri Kylian • Website - http://www.jirikylian.com/entrance/ • Interview - https://www.youtube.com/watch?v=6cLpMIcRve4 • Interview - http://www.jirikylian.com/visuals/documentaries/about_bella_figura/# • Insights - http://www.codarts.nl/wp-content/uploads/2015/11/2.-Onderzoeksverslag_Boek-Jiri- Kylian.pdf • Freefall - https://www.cultureelpersbureau.nl/2016/05/interview-jiri-kylian-free-fall/ • His movement - http://articles.latimes.com/1994-10-25/entertainment/ca-54349_1_choreographer-jiri- kylian • Kylian working - http://www.medici.tv/#!/jiri-kylian-forgotten-memories

William Forsythe • Webpage - http://www.contemporary-dance.org/william-forsythe.html • Interview - http://openendedgroup.com/writings/danceGeometry.html • William Forsythe, a choreographer and his style, Isabelle Brauwers, http://www.academia.edu/4974818/William_Forsythe-_a_choreographer_and_his_style • Forsythe improvisation techniques - https://www.youtube.com/playlist?list=PLAEBD630ACCB6AD45 • Interview - https://vimeo.com/36635217

Sidra Bell • A Module - https://www.youtube.com/watch?v=EdqOgObrFjw • Creative approach - https://www.youtube.com/watch?v=yPA_CnGMLM0 • Conversation - https://www.youtube.com/watch?v=ExOYz6sLHpY • Talks about “Pool” - https://www.youtube.com/watch?v=C9KYg7j0d5o

Andrea Miller • Interview - https://www.youtube.com/watch?v=da29tbUPAPE • Interview - https://www.youtube.com/watch?v=bov8Z112oFE • Process of “Fold Here” - https://www.youtube.com/watch?v=K-VVTDsK218 • Creative process - https://www.youtube.com/watch?v=mC6ttmOKEBg • Creative process2 - https://www.youtube.com/watch?v=k3UUl9y9Y0E

Kyle Abraham • Interview - https://www.youtube.com/watch?v=XnHGLjHG-Gw • Interview - https://www.youtube.com/watch?v=xhW6EPaFGmQ

Crystal Pite • Conflict - https://www.youtube.com/watch?v=QG5S31Q7DPM • Telling Stories1 - https://www.youtube.com/watch?v=CIFap1iu3RE • Telling Stories2 - https://www.youtube.com/watch?v=xO6I80spG3s • Working together - https://www.youtube.com/watch?v=FBe8Kc0i8nE • Interview - https://www.youtube.com/watch?v=OFnfpHoy4jw • In Studio - https://www.youtube.com/watch?v=1mBnQ7Cubd4 • In Studio with students - https://www.youtube.com/watch?v=p18bW4fRzmI • About Crystal Pite - https://www.youtube.com/watch?v=KMnHLO2AdRg

Dave Massey - Page 7 of 20 Rami Be’er • Interview - http://phindie.com/political-choreographer-interview-with-rami-beer-artistic-director-of- israels-kibbutz-contemporary-dance-company/

Noa Wertheim • Speaking about interests - https://www.youtube.com/watch?v=qP1oRnF5h78 • About dance/process - https://www.youtube.com/watch?v=PCGymtp1zp8

Ivan Perez • Interview - https://www.youtube.com/watch?v=pjlTty3Z7QY

Wayne McGregor • Ted Talk https://www.ted.com/talks/wayne_mcgregor_a_choreographer_s_creative_process_in_real_time#t-23365

Hofesh Shechter • Interview - https://www.youtube.com/watch?v=gpq1jiDMt9U • I Think Therefore I BAM interview - https://www.youtube.com/watch?v=zsxwDj7-Kvw • Maxxie Dance interview - https://www.youtube.com/watch?v=M_320PSjNok • The Perfect Human insight - https://www.youtube.com/watch?v=U2LMsY1ru24 • Performance + Dance - https://www.youtube.com/watch?v=vFo6pVVCmI0

Doug Varone • Interview1 - https://www.youtube.com/watch?v=KmjNFKpIzrg • Interview2 - https://www.youtube.com/watch?v=v3bnqw9FGvE

Bebe Miller • Interview - https://www.youtube.com/watch?v=lwpqHfOhokE

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Appendix II

GAGA DICTIONARY AS OF FEBRUARY 2015

This list of terms is used in the Gaga movement language. The term name is given, but the most beneficial aspect is exploring movement by engaging in the various actions.

TERM ACTION LENA The engine between the navel and groin PAPA Far away engines PIKA The place between the groin and rectum YOYO Sucking your pika and lower abdomen towards each other BIBA Pulling away from the sits bones MOONS Pillows of the hands and feet LUNA Moving the moons OBA Traveling stuff inside the body ASHI Investigating movement in external parts of the foot with the help of knees, pelvis and ankles TASHI Gluing the feet to the floor and investigating ankle movement MAKO Giving in, surrendering, letting go (without collapsing) DOLFI Available – especially available to move MIKA Pulling bones out of soft flesh TAKA Pulling bones inside thick flesh KADA Bones floating inside flesh KUKU Grabbing bones with flesh LAVA Explosive power BOYA Spaghetti in boiling water HEDA Head with spine GINA Lightness as a virtue POLA The license to fake MAMA System that engages activity in the grid of your body – including left leg to left hand, left hand to right leg, right leg to right hand, right hand to left leg, head and chest, diagonals, and parallels TAMA System which explores options for directions of curves YONA Ball movement in the joints KANTA Measuring the weight of body parts SHOKING Moving hands from forearms and feet from shins FUFU Unit of pelvis and legs MAGMA Feeding texture from hands and feet into rest of body KAGAMI The mirror of Gaga – look at the teacher and get the essence of what he/she is doing (quality, dynamics, etc.) KAKA An awareness of the sense of touch in your entire skin on a molecular level BIBI Nothing is permanent NAKA Thirty percent

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LIST OF WORDS/PHRASES LEARNED THAT WILL HELP ME DISCUSS MOVEMENT, WITH INCREASED CLARITY

• Predator v. Prey o Predator or prey energies can be used in the movement o Both words can inform movement • Smear o A nice word to increase sensation of moving • Pulling on bones o Find more space, elongation, availability • Floating spine, jaw, pelvis, etc o Move as if submerged in water • Hide the beginning o Movement is so subtle that the beginning is not seen • Dance at 30% o Dance at 30% intensity to feel movement, listen to body, find the nuances, find when to be ferocious o All this happens more easily at 30% • Snap o Like the literal snap using a thumb and finger, movement can explode in space and intensity • Horizontal space o Go out into space o Take up a lot of space • The rope of the arms o Arms connected as if by rope. Feel the connection in movement • Thick flesh - arms, legs, torso (in percentages) o More effort to move o More texture • Collapse – both down and up o Movement comes from a place of collapse • Engines o Source where movement begins • Echoes o What is happening in a part of the body that is not the engine • Joy – Passion – Groove – Find and feel it! • Sensitive skin o While moving, be aware, awake, to feel • Delicate o Don’t force movement • Outside forces o Movement is happening to you o Being bombarded from the outside • Inside forces o Like being caged o The movement is inside you • Available o Aware, awake to any movement possibility o From 0% to 100% effort in a moment and the reverse • WOW moments o Create these moments and know what they are o Movement doesn’t have to big explosive, but could be small and intimate o Any kind of movement can have a WOW quality – know it! • Quaking o Body shaking from an epicenter o Like flour being sifted • Focus o Seeing something very clear o Seeing past the object o Being able to read an entire sentence at once o See more with your eyes out of focus – Stereogram

Dave Massey - Page 10 of 20 • Grab your flesh o Create texture by making muscles o ½ body v. ½ body, right arm v. left arm, . Ability to do two things at once . Different parts of the body can have different textures o Texture does not equal tension • Waves and Pictures o Discover when movement is like waves and overlaps o Discover when movement is about making pictures in a phrase • Movement has many colors and textures. o Find them! • Be the movement • Close the gap o From classroom to performance o From improv to choreography (choreography needs to have surprises just as improv does) • Decorate the movement o From the inside . With light, perfume, color o From the outside . Be aware of the decoration . Don’t decorate with familiarity or habit o Clear movement has no affectations • Magnets o Connected to body parts o Any part of the room • A storm inside you • In movement, find your inner smile o Don’t take yourself too serious o Don’t be afraid to be silly • Let known movement surprise you • Move as if going “downhill”, “uphill” • Listen before you move • Unlock your jaw • Your body’s a tongue o Lick the space around you

• Letting go to find more o Stretch o Collapse o Release o Space o Availability • Take up more space! • Don’t measure o Movement can be compared to victory. How do you measure? Be engulfed • Oil the joints • Throw the water off your body as you move

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Appendix III School Visitations

CSU Dominguez Hills Doris Ressl Acosta No contemporary dance at this time. It’s a very small program with only 1 full-time faculty. Doris does think that a contemporary jazz class would benefit their program, because contemporary jazz dance is highly visible on shows such as So You Think You Can Dance. Observations: Modern dance II class

CSU Long Beach Andy Vaca No contemporary dance at this time. Andy does feel that the faculty should come together to look at what might be needed as far as offering contemporary dance. He feels the program should have contemporary modern courses. He states that without this, the aesthetics and values of modern dance, are being lost. Observations: Modern dance III class

Orange Coast Jose Costas No contemporary dance. Thinks should branch from ballet or be a performance course

UCLA Susan Leigh Foster No contemporary dance, but modern and postmodern and isn’t crazy about the term contemporary dance therefore no need for a course termed that

Palomar College Molly Faulkner No contemporary classes, but do have performance ensembles in contemporary dance, contemporary ballet and contemporary modern

CSU San Marcos Karen Schaffman Does have contemporary dance and it includes modern and postmodern theory

UC Irvine Jennifer Fisher No contemporary dance. Has been brought up in critical issues in dance course and discussed, but as of yet, faculty haven’t seen the need to write curriculum.

UC Riverside Susan Rose No contemporary dance courses offered. Modern dance is taught in a pretty contemporary style from what I observed. Thinking how to broach contemporary dance into their curriculum

Moorpark College Beth Megill No contemporary dance. Use their improvisation courses to suffice. Would consider contemporary courses as a way to increase student opportunities.

Santa Ana College Leann Alduenda No contemporary dance. They do have courses in somatics in dance. They also see how the program would benefit from having contemporary jazz and ballet courses

Santa Monica College Mark Tomasic Offer contemporary modern classes

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Mt. SAC Amy Nakamura Michelle Shear No contemporary dance classes at the current time. Amy thought offering contemporary dance would be a way to introduce more movement to the students. Contemporary dance performance courses are offered because it’s very popular with both students and faculty. Observation: Modern dance II class

Citrus College John Vaughan No contemporary dance. Not interested in building curriculum currently, as what they have is working for the department. Currently offer contemporary jazz dance in the curriculum of their jazz courses. Contemporary modern is also offered within the current structure of their modern courses. Observations: Jazz dance class

San Diego State University Jess Humphrey Leslie Seiters No contemporary dance courses. They don’t like the term, because it’s not defined and/or there are so many definitions. Classes I observed were very postmodern. Instead of “contemporary” they are thinking about developing courses with the term “experimental”. Observations: Modern II level class, Movement research class, Faculty solo work

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Appendix IV

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Appendix V Detailed Sabbatical Hours

HOUR HOUR TOTAL PROJECT OBJECTIVE #1 DATE STARTED FINISHED HOURS RESEARCH What Is Contemporary Dance? 8/14/2016 2PM 5PM 3 8/15/2016 10AM 12PM 2 8/17/2016 12PM 2PM 2 8/22/2016 12PM 5:30PM 5.5 8/23/2016 10AM 4PM 6 8/24/2016 10AM 2PM 4 8/25/2016 10AM 4PM 6 8/26/2016 10AM 4PM 6

LOS Emails to set up visitations, ANGELES interviews Several dates 1 Observations with BODYTRAFFIC 8/29/2016 9AM 4PM 7 Observations with BODYTRAFFIC 8/30/2016 9AM 4PM 7 Observations with BODYTRAFFIC 8/31/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/1/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/2/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/3/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/6/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/7/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/8/2016 9AM 4PM 7 Observations with BODYTRAFFIC 9/9/2016 9AM 4PM 7 Setting up lodging, airlines, ISRAEL passport Several dates 6 Emails to set up visits to work with various dance companies Several dates 2 Performance - LAST WORK Batsheva Dance Company 9/14/2016 9PM 11PM 2 CLASS - Gaga work BDE* 9/15/2016 10AM 5PM 7 CLASS - Gaga work BDE* 9/16/2016 10AM 5PM 7 Research Contemporary Dance 9/17/2016 10AM 2PM 4 Performance - LAST WORK Batsheva Dance Company 9/17/2016 9PM 11PM 2 CLASS - Gaga work BDE* 9/18/2016 10AM 5PM 7 Performance - SLUG Inbal Pinto & Avshalom Pollak Dance Company 9/18/2016 9PM 11PM 2 CLASS - Gaga work BDC* 9/19/2016 10AM 5PM 7 CLASS - Gaga work BDC* 9/20/2016 10AM 5PM 7 CLASS - Gaga work BDE* 9/21/2016 10AM 5PM 7 Tech Rehearsal - DECADANCE Batsheva Dance Ensemble 9/21/2016 7PM 10PM 3 CLASS - Gaga work BDE* 9/22/2016 10AM 5PM 7

Dave Massey - Page 15 of 20 Performance - DECADANCE Batsheva Dance Ensemble 9/22/2016 9PM 11PM 2 Delvelop interview questions for artistic directors 9/22/2016 6PM 7PM 1 CLASS - Gaga work BDC* 9/23/2016 10AM 5PM 7 Continue to develop interview questions by researching past interviews 9/23/2016 6PM 9:30PM 3.5 Continue to develop interview questions by researching past interviews 9/24/2016 12:30PM 4PM 3.5 Performance - DECADANCE Batsheva Dance Ensemble 9/24/2016 9PM 11PM 2 CLASS - Gaga work BDC* 9/25/2016 10AM 5PM 7 Performance - WALLFLOWER Inbal Pinto & Avshalom Pollak Dance Company 9/25/2016 9PM 11PM 2 CLASS - Gaga work BDC* 9/26/2016 10AM 5PM 7 Day with Kibbutz Contemporary Dance Company 9/27/2016 8AM 5PM 9 Master class with Ohad Naharin 9/27/2016 8PM 9:30PM 1.5 CLASS - Gaga work BDC* 9/28/2016 9AM 11AM 2 Tech Rehearsal - THREE Batsheva Dance Company 9/28/2016 3PM 7PM 4 INTERVIEW with Adi Salant Co-Artistic Director of Batsheva Dance Company 9/28/2016 7:30PM 8:30PM 1 Performance - THREE Batsheva Dance Company 9/28/2016 9PM 11PM 2 INTERVIEW with Noa Wertheim and Adi Sha'al of VERTIGO DANCE COMPANY 10/13/2016 11:30AM 12:30PM 1 *BDC - Batsheva Dance Company *BDE - Batsheva Dance Ensemble NEW YORK Set up lodging, airlines Several dates 3 Emails to set up visitations, interviews Several dates 1 CLASS - LeeSaar Master class & Creations 9/30/2016 10AM 12PM 2 CLASS observations 9/30/2016 12PM 6PM 6 Performance - NY QUADRILLE RoseAnne Spradlin 9/30/2016 8PM 10PM 2 CLASS observations 10/1/2016 10AM 12PM 2 Performance - NY QUADRILLE Pam Tanowitz Dance 10/1/2016 2PM 4PM 2 Performance - DUMBO FESTIVAL OOF BONES ANDREW JANETTI & DANCERS TOMOMI IMAI & DANCERS CONTEXTURE DANCE DETROIT GUIDON ZHOU SVETLANA KHORUZHINA XAOC CONTEMPORARY BALLET 10/1/2016 4:30PM 6:30PM 2 Performance - WORLD PREMIERES Annabelle Lopez Ochoa Lauren Lovette Justin Peck Peter Walker 10/1/2016 8PM 10:30PM 2.5 CLASS observations 10/2/2016 10AM 12PM 2 CLASS - Britney Falcon - Contemporary Forms 10/2/2016 12PM 2PM 2 CLASS - Joanna Brotman - Speakable Body 10/2/2016 2PM 4PM 2

Dave Massey - Page 16 of 20 CLASS observations 10/2/2016 4PM 8PM 4 CLASS - Donnell Oakley Contemporary Forms 10/3/2016 10AM 12PM 2 CLASS - Douglas Gillespie Contemporary Forms 10/3/2016 12PM 2PM 2 CLASS observations 10/3/2016 2PM 6PM 4 Performance - Avenue Q 10/3/2016 8PM 10PM 2 CLASS - Aya Wilson Contemporary Forms 10/4/2016 10AM 12PM 2 CLASS observations 10/4/2016 12PM 4PM 4 INTERVIEW with Andrea Miller Artistic Director - Gallim Dance 10/4/2016 5PM 7PM 2 Performance - NY QUADRILLE Tere O'Connor Dance 10/4/2016 7:30PM 9:30PM 2 CLASS - Douglas Gillespie Contemporary Forms 10/5/2016 10AM 12PM 2 CLASS Observations 10/5/2016 12PM 6PM 6 CLASS - Zoe Scofield Contemporary Forms 10/6/2015 10AM 12PM 2 CLASS Observations 10/6/2016 12PM 4PM 4 CLASS - Donnell Oakley Contemporary Forms 10/6/2016 4PM 6PM 2 CLASS Observations 10/6/2016 6PM 8PM 2 CLASS - LeeSaar Master class & Creations 10/7/2016 10AM 12PM 2 CLASS Observations 10/7/2016 12PM 6PM 6 INTERVIEW with Saar Harrari 10/14/2016 10AM 11AM 1 Building online

Resource Center Create resource website 1/6/2016 7PM 9PM 2 Create resource website 1/11/2016 6PM 8PM 2 Create resource website 1/13/2017 5PM 10PM 5 Compile words/phrases and give examples as how they might be thought of or used 1/14/2016 2PM 4PM 2 Create video with insights for the creation process 1/28/2017 6PM 9:30PM 3.5 Create video with insights for the creation process 1/29/2017 6PM 9PM 3 Editing sources for website 2/3/2017 6PM 1:30AM 7.5 Editing sources for website 2/4/2017 9AM 12PM 3 Editing sources for website 2/4/2017 3PM 11:30PM 8.5 Create resource website 2/5/2017 2PM 7PM 5 HOUR HOUR TOTAL PROJECT OBJECTIVE #2 DATE STARTED FINISHED HOURS Correspondance to 4 years schools Several dates 2.5 Research contemporary dance 10/14/2016 9AM 12PM 3 Research contemporary dance 10/15/2015 9AM 12PM 3 Develop interview questions for academia 10/16/2016 9AM 12PM 3 Conversations with SDSU 10/17/2016 10AM 1PM 3 Conversations with SDSU 10/31/2016 10AM 2PM 4

Dave Massey - Page 17 of 20 Conversations with CSU Dominguez Hill 11/1/2016 9AM 12PM 4 Conversations with CSU Long Beach 11/2/2016 11AM 2PM 3 Conversations with Orange Coast College 11/7/2016 11AM 1:30PM 2.5 Conversations with UC Los Angeles 11/8/2016 11AM 12PM 1 Conversations with Palomar College 11/9/2016 1PM 3PM 2 Conversations with CSU San Marcos 11/11/2016 1PM 3PM 2 Conversations with UC Irvine 11/16/2016 12PM 1PM 1 Conversations with UC Riverside 11/17/2016 10AM 12:30PM 2.5 Conversations with Moorpark College 11/22/2016 12PM 3PM 3 Conversations with Santa Ana College 12/1/2016 10AM 2PM 4 Conversations with Santa Monica College 12/2/2016 11AM 2PM 3 Conversations with Mt. San Antonio College 12/6/2013 8AM 11AM 3 Conversations with Citrus College 12/6/2016 1PM 2:30PM 2.5 HOUR HOUR TOTAL PROJECT OBJECTIVE #3 DATE STARTED FINISHED HOURS November Dance First meeting about co-producing dance Project project 8/24/2016 2:30PM 4:30PM 2 Second meeting 9/11/2016 8PM 10PM 2 Email time in total Several dates 2 Look at event venues 9/12/2016 2PM 4pm 2 Telephone conversation 9/15/2016 9:15PM 9:45PM 0.5 Research music 9/24/2016 4:30PM 7PM 2.5 Research poetry 9/24-25/2016 11PM 12:30AM 1.5 Research music 9/26/2016 8PM 11PM 3 Conference call 10/5/2016 8PM 9PM 1 Research music 10/7/2016 7PM 9PM 2 Research printers for postcard 10/8/2016 2PM 3PM 1 Research music 10/10/2016 2PM 7PM 5 Choreographic process 10/12/2016 3:30PM 7:30PM 4 Order postcards from printer 10/12/2016 8PM 9PM 1 Edit music 10/13/2016 2PM 6PM 4 Choreographic process 10/14/2016 1PM 7PM 6 Edit music 10/14/2016 7PM 9PM 2 Rehearsal with dancers 10/15/2016 6PM 11PM 5 Choreographic process 10/16/2016 12PM 4PM 4 Edit music 10/16/2016 4PM 6PM 2 Rehearsal with dancers 10/16/2016 7PM 11PM 4 Choreographic process 10/18/2016 9AM 3PM 6 Choreographic process 10/19/2016 12PM 7PM 7 Rehearsal with dancers 10/23/2016 7PM 10:30PM 3.5 Edit music 10/24/2016 10AM 12PM 2 Design program 10/25/2016 10AM 2PM 4 Edit music 10/26/2016 1PM 3PM 2 Choreographic process 10/27/2016 10AM 5PM 7

Dave Massey - Page 18 of 20 Edit music 10/28/2016 12:30PM 2PM 1.5 Choreographic process 10/28/2016 2PM 6PM 4 Choreographic process 10/29/2016 9AM 11AM 2 Rehearsal with dancers 10/29/2016 12PM 4PM 4 Choreographic process 10/30/2016 2PM 6PM 4 Rehearsal with dancers 10/30/2016 6PM 11PM 5 Edit music 10/31/2016 6PM 8PM 2 Choreographic process 11/2/2016 4PM 10PM 6 Choreographic process 11/3/2016 10AM 4PM 6 Update program 11/6/2016 10AM 12PM 2 Rehearsal with dancers 11/6/2016 6PM 11PM 5 Choreographic process 11/8/2016 3PM 9PM 6 Rehearsal with dancers 11/10/2016 6PM 11PM 5 Rehearsal with dancers 11/11/2016 6PM 11PM 5 Rehearsal with dancers 11/12/2016 5PM 11PM 6 Dry Run 11/13/2016 2PM 3:30PM 1.5 Rehearsal with dancers 11/13/2016 5PM 11PM 6 Choreographic process 11/14/2016 9AM 4PM 7 Choreographic process 11/15/2016 10AM 5PM 7 Edit music 11/15/2016 5PM 6PM 1 Rehearsal with dancers 11/16/2016 5PM 11PM 6 Update program 11/17/2016 3PM 5PM 2 Tech Rehearsal 11/18/2016 9AM 6:30PM 9.5 Performance #1 11/18/2016 7:30PM 9PM 1.5 Performance #2 11/19/2016 6PM 9PM 3 Strike theater 11/19/1016 9PM 10:30PM 1.5

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Appendix VI URL List

Interviews • Rami Be’er: http://davesdances.com/sabbatical/ • Noa Wertheim: http://davesdances.com/sabbatical/ • Saar Harari: http://davesdances.com/sabbatical/

Movement Creation Processes • Influencing Movement: http://davesdances.com/sabbatical/ • Through, Around, By: http://davesdances.com/sabbatical/

Movement Quality • A Series of Suggestions: http://davesdances.com/sabbatical/ • Engines: http://davesdances.com/sabbatical/

Choreographic Project • Awakenings: http://davesdances.com/sabbatical/

Works Cited • What is Contemporary Dance?: http://davesdances.com/sabbatical/ • Thoughts by Contemporary Dancemakers: http://davesdances.com/sabbatical/

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