Happy chilly Houston Monday! Cozy up with some tea and read the newest installment of MFA Mondays from the incredible  Diane Cahill Bedford!

Diane Cahill Bedford holds her M.F.A. in Dance Performance and Choreography from Florida State University. She is a dancer, choreographer, educator, and photographer; she currently serves as Professor of Dance at San Jacinto College South in Houston, TX. Diane has previously taught dance and presented her choreography in New York, Florida, Indiana, South Carolina, New Mexico, and Texas. www.dianecahillbedford.com

M.F. A. Life vs. Real Life

Tools of the Trade then and now…

I remember entering grad school after a four-year hiatus from academia thinking about how much I had missed that environment. Looking back, I’m not sure that I fully realized (even with four years of professional, real-life experience under my belt) what exactly I was so overjoyed about. There was of course the feeling of an immense weight being lifted off my shoulders (ironically); there was the possibility of creating dance and performing without spending so much of my time doing that other pesky thing called earning money at odd-end jobs like waiting tables. But now, two and half years into my first full-time Professorship, I know exactly what I was so elated about.

I had the fortunate experience of attending grad school where a plethora of tools and experiences were available to me: endless talented dancers to choose from, ample studio space to rehearse in, state-of-the-art technology, and a conditioning studio full of equipment to whip myself into shape when the endless technique classes were just not enough to keep me in peak form. Oh, and lest I forget to mention, I also had that one “little” thing so many people have comment on as being a lifeline to their creative work – mentors and colleagues to help me grow. And even though I truly feel I utilized as much of those available resources as I could, I look back now and think about how I could have done more and appreciated it more. If only I knew then what I know now (that those tools of the trade might be the very best I’d have in a long time) maybe I would have done things a little differently.

The illusions of an M.F.A. program is that the endless tools we have at our disposal will somehow always be available to us now that we have that illustrious degree. Of course, I should have known better. I wasn’t naïve to the fact that in my own professional life before returning to grad school, I struggled to have those very tools at my disposal. But somehow, the M.F.A. program became like Disney World. It was a safe haven. A place to escape the “real-world” and delve into the art I loved full-time again. It was a place where I would earn the degree that would keep me from ever having to return to that land of struggle, that land of not so top-of-the-line tools. I was confidant that I would get a full-time job and leave that life behind me forever. I guess in the end, I really was naïve. Even though I succeeded in getting the job, that life of struggle returned waiting to greet me when I stepped into my new office.

Let me be clear when I say I am tremendously grateful and appreciative that I did succeed in finding a full-time job. My musings are more a wake-up call to myself and to those pursuing their M.F.A. degree now. A full-time teaching job does not necessarily guarantee the same level of artistic freedom constantly at one’s disposal as in grad school. I am speaking to the common graduate of course. Unless you are one of the few that land the job of your dreams right off the bat, you will be faced will a tremendous learning curve. For instance, I remember when three hours of rehearsal a week for one piece of choreography often times felt rushed. Well in the real world, even the world of academia (that gleaming, glittery place where everything is supposed to be available to you) that may be a luxury you look back upon longingly. I also remember when I could focus more on the complexities of my choreography; I took for granted that the dancers I was using could do just about anything I asked of them. For now, that luxury is also long-gone. In its place is the role of teacher where I use rehearsal time to teach the skills I want to work with in my dancers. As dance artists, our work is in part only as good as the tools we have to use; sometimes I have to let my ego go knowing that my work is not necessarily top-of-the-line. Instead, I must focus on the experiences I give my dancers as my most important accomplishment.

Do I sometimes wish I could return to grad school and be free to create work in a bubble without obstacles? Of course! Sometimes I wonder if grad school trains us to become spoiled artists who, upon re-entering the real world, have to learn how to function again. For three years, I lived in close-knit, family kind of atmosphere where the thought of scrapping for artistic tools was as foreign to me as hunting for food in today’s microwave era. Perhaps grad school needs a “survivor” course in which students are forced to create work with as few tools readily accessible to them as possible. Or, perhaps the beauty of grad school lies in the fundamental ability to take the reins of your work and run wild with as much creativity and top-of-the-line tools as possible. It is true that without experimenting with all of the possibilities in creative work, one’s art will never grow beyond their own known boundaries. Two things are for certain: looking back at the tools I had at my disposal then compared to what I have now makes me even more grateful for my grad school experience. And, finding that full-time job in academia does not necessarily solve all the struggles of the post M.F.A. dancer life.

Welcome Back Framers!  I hope everyone had a great Thanksgiving last weekend! Here is a new MFA Monday for all of you!

For those of  you who might not know…The “MFA Monday” series features the musings of local Master of Fine Arts holders. Enjoy their thoughts on the process of attaining an MFA!

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          Angela Falcone!

Angela Falcone, a Houston native, graduated from Friendswood High School in 2007. She was a member of the drill team, the Friendswood Wranglerettes, where she held the title of Grand Marshal. After graduating, she followed her dream and tried out for the Kilgore College Rangerettes. She had the honor of being chosen as the Freshmen Sergeant and Swingster her freshman year, and received the greatest honor of being chosen as Captain her sophomore year. Following graduation from Kilgore College with an Associate in Fine Arts, she was accepted to the University of Texas at Austin, where she holds a B.F.A. in Dance. Angela currently attends Texas Woman’s University in Denton, Texas where she is pursuing her M.F.A. in Dance. She is specifically interested in shifting the paradigm of high school drill team by reinvigorating the choreographic process and bringing a somatic awareness to high school dancers’ bodies.

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Oh grad school…

Being a current first year M.F.A. candidate/student at Texas Woman’s University, I have quickly learned the heightened expectations of a graduate student.   One of my professors, Sarah Gamblin, said one afternoon, “you must do everything to the nth degree.”  After she mentioned this revelation about graduate school, my life has been turned upside down.  I am in my second semester of what everyone calls the “first year” and the journey has been everything I have expected…challenging, stressful, and rewarding. Not only am I tested mentally and physically every day, I am one part of a community striving to better themselves as artists and as dancers.  Below are three revelations I have had about this journey…so far.

1. You can never “over do” an assignment. 

I have always been an “A” student throughout my academic career, but I have never had the pressure of succeeding and/or being challenged to this degree.  If you think you are doing the assignment “correctly,” better think again.  I have quickly learned the expectation of an assignment is truly infinite.  If it is one blog entry for .5 points of your overall grade, you better be writing that blog as if it is your proposal for your final paper. Having adapted to this type of expectation over the past semester, I am rapidly becoming a better writer, thinker, innovator, and creator.  I am so thankful for this revelation!

2. It is not the “what” that is important anymore, but the “so what.”

I am one of the many students at TWU that went straight from undergrad to graduate school.  In saying that, I have quickly realized within my very first class, I need to dive deeper into the topic at hand.  Regurgitating information (like a banking system education) is not the expected anymore.  When stating anything, I now know I need to find connections, anomalies, dichotomies, and/or possible links between any and all things, no matter the significance (because everything means something).  I am still working through the kinks of this revelation in my writing.

3. Process! Process! Process!

My background mainly consists of drill team training, which is coined (in the dance community) as a genre that does not challenge process and is completely final-product based. I would like to shift this paradigm and invite improvisation and collaboration into the drill team process.  Normally when I choreograph, I would have every detail planned out ahead of time, but now, I am well aware of the possibilities of improvisation and provocation (Larry Lavender’s term). This semester, I have had many revelations in my own choreographic process.  I am granted four hours a week with my dancers, which is just enough time to play, experiment, create, and collaborate.  The process of creating work has truly been stimulating and invigorating.

These revelations have truly shaped the artist I am becoming.  I hope to one day be able to succinctly articulate how the impact of dance has had on my life, but until next time…

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Happy Monday!

Hi Framers!

Howdy everyone! I hope you all had a great weekend! Can you believe it’s only four days until Thanksgiving?! Wow.

Anyway, this Monday we bring you a little post about MFA Basics!

…So what is an MFA anyway?

A Master of Fine Arts (according to the Wikipedia article) is “a creative degree usually awarded as a terminal degree in visual arts, creative writing, filmmaking, dance or theatre and other performing arts. Coursework is primarily of an applied or performing nature with the program often culminating in a major work or performance.”

Other MFA factoids:

• Programs typically range from 2-3 years
• Requires a bachelor’s degree (not necessarily in same area of study as the MFA) prior to admittance
• Sample portfolio or audition performance often very important aspect of application
• InU.S. an MFA is considered “terminal” because it is the highest degree in its field

…What programs are out there?

Here is a list of 109 MFA Dance programs around the world!

…Which MFA programs are the “best”?

SO many variables to consider, there isn’t a cohesive list of rankings. But here are a few schools that are very prestigious:

http://dance.tisch.nyu.edu/object/dance_mfa.html

http://dance.fsu.edu/

…MFA programs in Texas?

Of course! But only three…

Southern Methodist University

Texas Woman’s University

Sam Houston State University

Stay tuned for next week’s MFA Monday!

Going into graduate school, I always thought of an MFA as the desired end result. In reality, the journey to the MFA became much more important than attaining the MFA itself. Here I am, one year post-grad, and what I wouldn’t give to be living that journey again. I’m not saying that it’s all roses and butterflies, but the four years I spent working on my MFA (yes, FOUR!) were the most rewarding and selfish years of my life. When I say selfish, I’m referring to a number of things – for one, my time was completely devoted to dance in all forms. I spent hours upon hours dancing, choreographing, writing, reading, teaching, thinking, talking, performing (etc.) to the point that I probably spent less than 8 hours a day at home (sleeping) and it didn’t even phase me.

Having a significant other, or even a pet, can be tough during this type of selfish study. Because it can be so draining and taxing, having some support system outside of your colleagues is important, whether it be a person or a pet. But be warned – they will get sick of you being gone! In order to do grad school (and I mean really do it) it requires an extreme level of sacrifice on the people (or animals) you are living with (maybe a dog isn’t the best grad school friend – go with a cat, they could care less about you anyway!). The key to successful support is communication and understanding.

Even now I struggle with communicating within my own support system, something I think many artists find. How do you explain an MFA in a meaningful way that is both accurate and understandable for people who aren’t in the arts? Something most people do not understand is that the MFA in Dance is a terminal degree, which puts it at an equivalent to a PhD for many fields. For academic jobs in dance, the MFA is the preferred degree, though many do have a PhD, but they are in areas such as education. My friends and family understand my job to some extent, but I still get called a “dance instructor” when being introduced to other people and its something I just have to either get used to hearing or get used to explaining how I’m not that different from other “professors” out there, I just get to enjoy what I’m doing a little more.

The best way I’ve found to tackle this is by having conversations and by convincing my family and friends to come out and actually see what I do in the professional world. They are almost always surprised that I do not do what they thought I did. It is not always easy to do, but I’ve found that getting in touch with what people do know and enjoy has been one of the best ways to start conversation and gear it toward what the larger dance world is all about. Many of my friends watch television shows like So You Think You Can Dance and if I can start conversation there, they’re much more open to trying to understand what I do and how it relates to the commercialized dance they enjoy watching from home.

A huge advantage of a full-time faculty position is the funding that is available for presenting work, given that the university and its budget supports it. I have been extremely lucky that various grants have been available to fund my travel to the different festivals I’ve participated in with my company, SWADanceCo. Because many university tenure and promotion documents have been revised to include creative work as scholarship, I have been able to continue choreographing and performing as a professional with the monetary support of my institution. Without this support, I would not be able to go out and get my work seen and share my art with the world. My colleagues have been brilliant supporters as well and I’m in a readily made environment conducive to active collaboration and interdisciplinary scholarship.

Support comes from many places and understanding how to build the net of support from all aspects of your life is extremely important. Without all walls supported, there are bound to be cracks in the foundation.

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Sarah Wildes Arnett is Founder/Artistic Director of SWADanceCollective and Assistant Professor of  Dance at Valdosta State University in Georgia. She received a Master of Fine Arts in Dance Choreography at the University of North Carolina at Greensboro in 2012 and a Bachelor of Arts in  American Studies from Vanderbilt University in Nashville, Tennessee. Sarah’s interests are interdisciplinary as she enjoys integrating her talents  in film-making, photography and music composition into her choreography while also expanding boundaries of genre and style. She continues to perform professionally with various companies and artists in the southeast. Most recently, she has performed and shown work at the MAD Festival (Atlanta), Alabama Dance Festival (Birmingham), NC Dance Alliance Annual Event (Greensboro) and RE:Vision by Forward Motion Theatre (NYC).  http://www.swadanceco.com/

A post from our scholarly dance guru, Dr. Alexis Weisbord, to bolster your blah Monday! 

Read on Framers….

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 When entering a professional interaction, I think about the networking opportunities, whether these people can recommend me for a job, or if they may even be sitting on an interview panel.  The thing is, you never know when, where, or with whom a professional relationship might begin.

When I first meet people, I’m typically a pretty shy person, and I think I knew clearly somewhere in my first year of graduate school that I was in over my head. The idea that I needed to pass myself off, as a credible “professional” while surrounded by these accomplished people, seemed outlandishly impossible. I could have made the choice to leave school for a year or two and get what I needed to feel more confident in my work, however that simply isn’t my way. Tell me I can’t do something and I will travel to the ends of the earth to make it happen, so rather than believe that I wasn’t capable, I was determined to push through, no matter what that meant. I was 22, single and had nothing to lose…. except my pride

It can take me a long time to relax enough around new people, especially groups, to feel like I can share anything personal, so I got really lucky when a woman who graduated a year earlier than me from my undergraduate program also decided to go to UC Riverside for the same graduate program. Although she wasn’t someone I was social with at the time, we decided to live together because it meant it was half the price of living alone. We didn’t know each other well, and while we certainly had our ups and downs, we quickly learned that having someone to share your day with (especially the part at the end when you cried because you felt like a fish out of water) was better than being alone. She taught me to knit and I taught her the value of junk TV meant for teens. We learned which “Two Buck Chuck” wine we both liked and determined that any reason was a good one for champagne. She learned to cook the occasional red meat and I learned to enjoy my cereal with rice milk. But most of all, for the entire three years we lived together, we never had a bad day at the same time. This meant that when I was at my lowest, she felt confident enough to give me the words of encouragement I needed; when she was homesick, I was there to remind her of all the awesome things we were working on in our program.

For all of the drama that comes with living with someone you also work with (and we later shared an off campus employer), having my roommate meant a built-in support system, and together, we slowly got to know others in our program. I am not sure I would have accomplished this as quickly as I did if I had not had someone to help start the conversations. It is because of that one relationship that I went on to form friendships with people who have supported me in more ways that I can count. These women celebrated my marriage with me, were there in some of my deepest moments of personal despair, talked through research ideas with me, and provided me wonderful professional experiences.

All of this is relevant when approaching graduate school. Your peers are both your current and future professional community. Being professional, I believe, is crucial to being a successful graduate student, and not just for the sake of your professors. The way you present yourself in your coursework, and even socially to a certain extent, will attract people to you or put them off. They will either see you as pretentious or relatable, as a collaborator or a speed bump. They might appreciate you for your research skills and knowledge of psychoanalytic theory only, or they might know you are the person to help manage their first production after you graduate. The point is, by the time your first year is complete, your colleagues will know pretty much all your strengths and weaknesses as a professional. This becomes part of your professional identity, because you never know what institution your colleagues will end up at or who they might already know.  These people will be your greatest resource after graduation.

With that said, more than anything, these people will understand a part of your life experience that no one else can. If my experience is any indication, you will need them for years to come to help process what the graduate school experience was and how it has and will affect your future. I had a close knit group of friends from undergrad, but I missed out on them meeting their spouses. I missed out on the biggest productions they have produced in their careers thus far. I missed out on celebrating their honors and accomplishments. And they missed mine. Thousands of miles of distance will do that. However, it was my friends from grad school who I first introduced to my would-be husband. Those same women who I was so intimated by that first semester planned my bachelorette party. It was that shockingly brilliant group of people that helped celebrate my move in to my first home. So now I have two separate groups of people in my life, each with dramatically different first hand experiences. People from both eras in my life know me well, still to this day, and now I have this amazingly broad base of intelligent, driven and diverse artists and scholars that I can call on at any time. No matter what kind of professional or personal advice I might be in need of, there is someone in my life to give it. Some of them have a couple of more decades of life experience than me, others are in similar phases of life, but there is something for me to learn from every one of them. And more amazing than even that is that these women support me in everything, professionally and personally. They encourage me to do things when I am most afraid of failing, stop me before I do something in which I will definitely fail, and I know that if I do fail, they would still be there for me.

So when you meet people in your graduate program, take some time to get to know them not because of what they can do to further your career, but because of what they might offer your soul in your lowest and greatest moments. Some of them will likely become your extended family. And no matter the professional outcome of your graduate school experience, the personal rewards of these friendships will always be the greatest.

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Dr. Alexis Weisbord received her BFA in Dance from University of Minnesota and her PhD in Critical Dance Studies from UC Riverside. Alexis was a competitive dancer in high school and later spent over ten years directing dance competitions throughout the US. Her dissertation was entitled “Redefining Dance: Competition Dance in the United States” and she has a chapter, “Defining Dance, Creating Commodity: The Rhetoric of So You Think You Can Dance,” in the forthcoming Oxford Handbook of Dance and the Popular Screen.  Alexis has held positions as Lecturer in Global Studies at UC Riverside and Associate Faculty in Dance at Norco College. Currently she is an Associate Faculty member at Mt. San Jacinto College, Managing Director for The PGK Dance Project in San Diego, and founder/co-director of an emerging dance company, Alias Movement.

Another start to a great week and we have just what you need to kick those Monday woes:

Laura Gutierrez!

Laura is a Frame dancer who will be leading us through our series of MFA Monday with her thoughts on attaining a Master of Fine Arts.

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Some questions to ponder.

When is the right time to apply for an MFA?

After graduating from a very rigorous conservatory dance program and moving to New York City in June 2009, I pictured myself landing a dream dance job and living happily ever after.

I was always very aware that choosing dance as a career (not a hobby) would bring challenges, and moving to Manhattan in the middle of the financial crisis to try to land that dream job forced me to face facts.

For the first time in eight years, I would not be taking class multiple times a day.  After attending numerous dance auditions and applying for day jobs at every retail store in the city, I finally chose to move back to Houston in the fall of 2010.  I have thought about applying for an MFA in Dance every fall since.

Most of the dancers I know who have returned to school have landed their dream job of joining a professional company or are going straight into an MFA program from undergrad.  I am somewhere in the middle.  I’ve done some research on a few schools and have talked to a few people who have graduated with an MFA in dance.  Here is what I’ve gathered thus far:

1. Research, research, research the many program possibilities.
2. Don’t pay for it out of your own pocket or apply for loans. (I am, of course, still paying for undergrad.)
3. Be ready for the commitment.
4. Decide on your concentration. (Choreography, performance, teaching?)Decide on your concentration. (Choreography, performance, teaching?)

Even though I never pictured myself moving back home so soon—or ever—I have accomplished other goals: paying my rent, earning a salary with benefits, working with and for fantastic arts organizations/ dance companies.  I have created a life for myself in Houston and it seems juvenile to get up and move elsewhere.  Still, at the end of every week I leave work with the same thought: I’m still young, and I should be dancing.

I still desperately crave the long hours of conservatory training, researching and drowning in all things dance.  I’m eager to take the next big step in my career and I feel that graduate school is a good option. But I fear that it could also be a very expensive safety net.

Is going to grad school for dance even the best option?  Or is it time to transition into a different career at the age of 25?

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Laura Gutierrez is a graduate from the High School for the Performing and Visual Arts and received her BFA in contemporary dance from the University of North Carolina School of the Arts. A recipient of a 2009-2010 William R. Kenan, Jr. Performing Arts Fellowship at the Lincoln Center Institute, she presented her choreography The World Within in the Clark Theater. Since returning to Houston, she has been a part of Texas Weekend of Contemporary Dance, Big Range Dance Festival, Hope Stone, Inc’s emerging artist residency HopeWerks. She was also a part of Tino Sehgals installation in the Silence exhibit at The Menil Collection and most recently performed in Study for Ocupant choreographed by Jonah Boaker at Fabric Workshop Museum in Philadelphia and Frame Dance Productions. Currently she is on Adjunct Faculty at HSPVA and is the Office Manager/HopeWerks Director at Hope Stone, Inc.

Stay tuned to hear more from Laura next week and feel free to comment on any of her questions below!