I still distinctly remember trying on my very first recital costume when I was 5. I went crying to my mother because my thighs didn’t fit in the legs of the leotard and they were being squashed by the elastic.
Little did I know that this would be the first of many experiences I would have with my body being ‘wrong’ for dance.
I have spent my whole life in front of the mirror.
I started dancing when I was 4 years old and I absolutely fell in love with being in the studio and learning how to perform on stage. Continue reading
As with any artistic project, what you start out to create takes on a life of its own and turns into exactly what it is meant to be.
While the creative journey may take a different path than originally expected, I find that the destination generally remains the same. It is what we discover along the journey that clarifies our true intentions. Continue reading
As we move into a brand new dancing year, I want to share with you 10 articles that I truly enjoyed reading in 2015.
They are in no particular order and range from the announcement of Misty Copeland as a principal ballerina, to the strength that it takes to pursue your dream of becoming a dancer despite feeling that the odds may be stacked against you.
Thank you for your interest in performing with Sasso & Company in our annual Spring Performance Series!
We are looking for established contemporary and modern dance artists from the Boston community to share an exciting variety of work with new and returning audiences. Sasso & Company aims to further the sense of connectivity in our local dance community through this collaborative performance opportunity. Continue reading
On how to protect your choreography from being copied, an issue I have, unfortunately worried about as an artist:
““The technical moves themselves are like words for an author,” she says, and therefore are available for anyone to use… But, says Haye, “when you put a series of words together, they become paragraphs and therefore copyrightable.”
I recently participated in a jazz class in London and was shocked to find out that it was a legitimate technique class!
Over the last several years, I have been overwhelmingly disappointed when I have gone to take professional level classes in various cities in the US and UK. My expectation is that I will receive a proper warm up that requires technical skill and finesse (i.e. plies, tendus, balances, etc) followed by a combination that is designed to be fun, challenging, and fits into the genre of the class.
Well, let me tell you about my experience:
So many classes that call themselves jazz or even modern are this new brand of contemporary that’s a bit of modern thrown in with a lot of acrobatics and scary tricks that look sort of cool, but will land most of us in the hospital with knee problems sooner rather than later.
I naively thought that once I started my company and had a season, that things would sort of roll forward from there.
I would have an audition, gain some new dancers, create more work, and have more performances. I knew that it would always be hard work., even the big, established companies such as Paul Taylor Dance Company, continually seek to grow and engage audiences in new and innovative ways (hence the change to Paul Taylor’s American Modern Dance).
I am excited to pour myself into Sasso & Company, but I did not anticipate I would be directing my second season from across the Atlantic Ocean.
I am all at once nervous and proud. In just a few short weeks, this dance show has come together. In September, when most companies are getting into their regular rehearsal schedule, I was contemplating if I would create anything at all. By December I was in the studio with two of my dancers creating a duet and experimenting with ideas surrounding love styles and Sternberg’s triangular love theory. As the work started coming together, I realized that I really wanted to produce a season and introduce my work as an independent choreographer and artistic director of LaceySassoDance/Sasso & Company.
This semester, I had the opportunity to blend my passion of dance and movement with my psychology training in a class called body-oriented psychotherapy. The class covered a variety of topics including somatic (ie body) methods from Feldenkrais and yoga, to foundations of dance therapy. We were given the opportunity to move and experience these methods weekly.
I, like everyone else, have my preferred genre(s) of dance to perform, create, and view. I say this to recognize the fact that there were works in this show that I simply did not like, although this is valid, I also found myself walking away frustrated that choreographers seem to be missing the point of KEEPING IT SIMPLE.