Dancing With Michael James
Mar 23, 2009
Michael James, born and raised in St. Petersburg, Florida, graduated from the University of South Florida where received a BA for Modern Dance Performance. After college, he performed in the American Stage Company's "Shakespeare in the Park" Series for five seasons, as well as danced and choreographed for the Children's Theater Tour.
Michael was a scholarship student at the Jacob's Pillow Dance Festival in Beckett, Massachusetts, where he studied under Linda Kent and Carolyn Adams. He also danced with The Men Dancers of Jacob's Pillow International Touring Company, which allowed him to dance and teach in St. Petersburg, Russia. He was also a member of The Repertory Dance Theatre of Utah.
As a color guard designer and choreographer, Michael has worked with Cypress Creek HS, Seminole HS, Tarpon Springs HS, The Company Winter Colour Guard, Kennesaw Mountain HS (GA), Miamisburg HS (OH), Pope HS (GA), Center Grove HS (IN), and Northmont HS (OH). He's also been on staff with The Cavaliers, Santa Clara Vanguard, Carolina Crown, and The Magic of Orlando.
Michael's choreography has also been viewed at Pleasure Island with the Pleasure Island Explosion Dancers, University of Central Florida's Starlet Knights Danceline, University of South Florida's Herd of Thunder and winter guard, 1999's Orlando Fringe Festival, and numerous other high schools and colleges around the country.
WGI recently had the opportunity to catch up with him to find out his thoughts on movement in the color guard activity.
Tell us about your influences in the world of dance.
I was very much influenced by Jose Limon, which was the main technique I studied in college. His stylistic spoke to me as a male dancer. I was very fortunate to learn a lot repertory when I danced with the Men Dancers of Jacob's Pillow.
One dance company that always seems to separate themselves from the norm is the Netherlands Dance Theater. I've only seen them live once, but I've watched them on video. Their approach to their choreography has always been thought provoking and fresh.
Another choreographer that has allowed me to rediscover my voice in choreography is Mia Michaels. Trying not to sound trite, I knew of her work, but never really seen it until "So You Think You Can Dance." I was blessed enough to have her view my choreography at WGI's Spinfest in Orlando, and she was just gracious as she was giving in her work. I think that really what makes incredibly honest in her work, because it's real.
Should today's choreographers be exploring new styles of dance and movement?
In the guard world? YES! We should be. I think it will take us to new avenues of exploring dance in color guard as we know it. I refuse to allow myself to conform as a mover. Sometimes we look for acceptance from our peers. The credit for me comes from when I am moved by the movement I'm watching.
In the dance world, there are so many great choreographers that have been exploring new styles for years! Zvi Gothenheir - NYC, Stephan Page - choreographer for the Bangarra Dance Theatre - AUS, and Pina Bausch. These choreographers work have all spoken to me on numerous levels. I had the honor to with Zvi when I was dancing the Repertory Dance Theater in Utah. Stephan Page, I viewed his choreography last summer in Melbourne, AUS. And Pina Bausch is just one choreographer that I watched videos of in college, and she can still give me chills.
Who do you feel has significantly pushed movement in the activity, past or present, where dance is concerned?
For me? It's kind of hard to pick one. So I'll pick a couple of people. Karl Lowe and Carol Abohatab.
Where do you see the potential for growth in the area of dance as it relates to our activity?
Well, dance has become such a huge part of equipment work that you just can't separate them. Your equipment is an extension of your body. I think as time goes on, you'll see younger instructors who will shape the activity who will have better dance training to offer. Which in turn, the activity will progresses in dance.
What are some of the needs that choreographers have that aren't being addressed or could use further attention?
Wow, that's a tough one. I think it really depends on each situation. For me, understanding from outside the activity, that this is an art form. Or that being a choreographer, is labor of love, and it needs nurturing. A lot of people don't see teaching dance as a viable job. Anything from funding to just finding places to work on your craft has always been a difficult thing for younger artist.
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