Hometown: Chicago, Illinois
Current city: Saint Louis, Missouri
College and degree: Northern Illinois University, Bachelor of Arts in Theatre Arts/ Dance Performance
Graduate school and degree: University of Utah, MFA in Modern Dance/Choreography; I started grad school in my late 20s after dancing for a couple years in a repertory based dance company in Louisville, KY.
Website: www.karlovskydance.org
How you pay the bills: Income mostly comes from teaching dance and teaching the Alexander Technique. Some income comes from doing a residency and/or setting choreographing at a university, and from performing with others. For the company, I write and receive grant funding, hold fundraisers, and solicit donations, and book performances and school residencies to keep us going.
All of the dance hats you wear: Dancer, Choreographer, Teacher, Director, Administrator, Grant Writer, etc.
Non-dance work you do: I’m a mom of two, wife and friend, a certified teacher of the Alexander Technique maintaining a private practice out of my home. I’m a student of French language, a volunteer at my son’s school, and make time to play with my youngest (Julien, age 9) everyday. My daughter is off in college starting a life all her own.
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Describe your dance life in your….
20s – I started dancing at a fairly late age for a dancer… as an older teen. I became most serious about having a career in dance in my early twenties. I felt like I had a lot of catching up to do, as most of the students in the dance program at Northern Illinois University had been dancing and training most of their lives. Prior to studying dance in college, I was pulled into performing first while living in Chicago. My older sister was working on her senior project at Columbia College and needed an extra dancer for her piece. I immediately fell in love with performing and loved being a part of this dance environment. My career decision to dance was made and then reaffirmed after I auditioned for the dance program at NIU and was offered the Talented Student Scholarship Award. I was truly honored to received this award and worked my butt off to show my gratitude --- taking in every opportunity that came my way to perform with the student company, dance in other student’s work, to choreograph every chance I could, and to study and dance with professionals in the city during breaks, etc. The hard work paid off as I got into a full-time performing company upon graduating. After a couple years of rehearsing, performing and touring, I felt the need to do more and to know more. So, the next step was graduate school.
30s - I graduated from the University of Utah with my Master of Fine Arts degree in Modern Dance/Choreography. Feeling so much more prepared for the world of dance, I wanted to be in a community where there were lots of other artists and dancers, and opportunities. I had visited San Francisco in the past taking a workshop with Della Davidson. I loved the feel of this city and, of course, found it beautiful, so that’s where I went. I dove full force into the dance scene there taking classes at ODC in the Mission District, at Brady Street (not sure if it still exists), and at 50 Oak Street at LINES Dance Center and with other independent modern choreographers in city. I danced with a number of independent choreographers, co-produced some concerts with the Pacific Dance Collective presenting new choreography, and danced as a company member with California Contemporary Dancers, directed by Yasmen Soreb Mehta. I absolutely LOVED San Francisco, but really couldn’t afford living there, dancing there, and raising my daughter there. I then made a big decision to find a more stable situation and moved to St. Louis, Missouri after accepting a temporary position as Assistant Professor in Dance at Webster University. As much as I wanted to move back to San Francisco, it turned out that St. Louis had a lot to offer for teaching and performing so I was able to actually do more of what I love to do…dance, teach dance, and create dance! My days were full with teaching as dance faculty at Washington University and Webster University, and dancing as a member of Gash/Voigt Dance Theater, and presenting my own work. I developed so much more as a dancer in this decade. I had a growing interest in somatic studies, especially in the Alexander Technique, and found that it strengthened my general understanding of movement in ways I hadn’t expected. I became more patient as a dancer, and really started to listen-feel to what was actually happening when I moved. I started to discover the harmony of dance as a blending intelligence, experience, technical expressivity, and sensitivity.
40s - I had my second child and continued to perform, teach, and choreograph a lot. After accepting that St. Louis was my home now, I formed many new artistic relationships collaborating with theater companies, artists, musicians, and of course, dancers. I traveled a lot studying and rehearsing in New York City, presenting work in various venues throughout the US and in Beijing, China, revisited San Francisco to rehearse with my good friend and colleague, Megan Nicely, and started a collaborative project with some artists in France. I’m still curious to discover things about myself and about dance, to explore new concepts, and to allow my dance and dancing to continue to evolve. I added Artistic Director to my list of the many hats I wear after forming my company Dawn Karlovsky & Dancers which then became Karlovsky & Company Dance. I invested more time learning the business and grant writing skills needed to run a non-profit organization.
50s - I don’t see myself stopping!
Photo: Gerry Love
When did you first study Alexander Technique? What inspired you to do the training, and where did you train?
I was only slightly familiar with the Alexander Technique prior to taking a summer workshop with my boyfriend (now husband). I found it absolutely intriguing! I thought that with all the wear and tear and physical demand I put myself through day after day, I should consider doing something that is good for me. I started taking private lessons with Katherine Mitchell in St. Louis, and as it turned out, she was starting a new teacher-training course, so I embarked on this new journey into somatic studies and got certified to teach in 2004 by the American Society of Alexander Technique (AmSAT). Since then, I’ve been teaching a seminar course in the technique at Washington University in St. Louis, and for Webster University in the Department of Dance, and for the Music Department. I also maintain a private practice teaching out of my home.
On luck:
I feel lucky and fortunate to have a loving and supportive family, and to have had some really amazing experiences in life, but I don’t rely on luck when it comes to my career.
Setbacks and sacrifices:
Two years ago I had a total hip replacement! Yeah…not fun. But I feel so fortunate to have had an incredible surgeon who understood my level of activity and who had the mutual desire to get me dancing and performing again. I tore the labrum in my hip in my early thirties. At that time the doctors said that they could repair the tear, but that I would still be out from dancing for 6 months and that I would probably need a hip replacement further down the road. The other option was that I could just work with it torn for as long as possible and then have the hip replacement surgery when I couldn’t wait any longer. Well, it seemed that the surgery was inevitable so I decided to wait. I danced fully for a good 12 years or so (along with weekly physical therapy work) and then I truly understood what was meant by “not being able to wait any longer.” The last year prior to my surgery was…hmmm.....I don’t know if words can really describe what it was like. My days were filled with pain (both physically and emotionally), fear, uncertainty, and determination. I started to assess my physical abilities month-by-month, and then week-by-week, until day-by-day questioning… will I be able to walk today?
Fortunately, the surgery went very well and after 4 months of healing and a dedicated commitment to do my physical therapy, I was able to start teaching and dancing again, and started performing again one year post surgery. I learned a lot from this experience. During graduate school, I studied anatomy and dance kinesiology with Dr. Sally Fitt at the University of Utah. Thanks to her, I had a good understanding of the workings of the human structure, but when you suffer an injury, or a chronic condition, these situations seem to deepen your knowledge in ways beyond the books. This experience also deepened my appreciation for the human body. I feel very grateful.
You have a “pick up company.” What does this phrase mean to you? How many performances are you participating in or creating each year? How do you find dancers?
Well, I no longer run my company as a “pick up” type. Karlovsky & Company Dance became a 501(c)3 not-for-profit organization in 2012. However, from 2004-2012 I ran the Dawn Karlovsky & Dancers under the support of another organization and hired dancers/artists/musicians based on what was needed from project to project. Now, we have a steady group of company dancers who take company class and attend rehearsal three days a week. We have two main performances a year and do other events, residencies, festivals, etc. throughout the year. Some dancers in the company I have known for a long time. We are colleagues, friends, and collaborators. A few others are new to the company and joined after attending an audition.
Photo: Gerry Love
What do you look for in a dancer?
I’m interested in dancers who are curious about movement. I’m interested in dancers who are willing to be vulnerable and reveal something personal about themselves in the that way they move, and in how they interpret the choreography. I’m interested in a dancer whose technical strength is an all-encompassing use of themselves, that they are mindfully and energetically present, and genuinely expressive.
Do you still perform?
Yes!
What are you exploring in your artistic work over the next year?
I’m working on a large piece highlighting French language, literature and culture. The concert, French Connections, premieres this April 2015 in St. Louis and it will feature original choreography and dance video inspired by my recent trip and performance collaboration with some dance artists in France. This concert will also involve live music by several incredible local musicians and spoken or sung French poetry. The French artists and I are looking into a future project together to do a performance exchange in each other’s countries. If anyone out there knows of a presenter or venue in France that would be interested in sponsoring this project please let me know!
What is the role of teaching in your dance career? How did you learn how to teach?
My main source of income comes from teaching. I am dance faculty primarily at Webster University and Washington University in St. Louis, but also teach at other area universities if they need someone to teach particular subjects. I studied pedagogy in grad school, but so much of what I learn as a teacher comes from years and years of actual teaching; assessing what seems to be working and challenging myself to try different approaches to keep improving and to become more effective. I credit so many of my wonderful teachers whose skills were imparted onto me as well. Just like in dancing, I keep exploring options as a teacher. I continue to investigate, understand movement more deeply, develop my teaching skills, and hopefully impart something significant and memorable to my students as well. The cycle continues, and it continues to expand.
How have you balanced the roles of dancer and parent in your life?
I try to arrange my work or rehearsal schedule so that most of these activities take place in the daytime while my children are in school. I usually have one very long rehearsal on Sundays, but I try not to do too much on weeknights so that I can be at home with my children. I savor these times together because their childhood years pass so fast! Performance weeks can be really hard on the family since I’m generally out every day and night for the week leading up to a show. My husband is pretty awesome and takes over all the nighttime and weekend schedules while I’m out. My in-laws don’t live too far away either, so if they are in town, they help out too.
Last performance you saw that really inspired you:
I find a little something inspiring in most things I see, from student works to performances by professional touring groups. I like to keep an open mind going into a performance, and to open up my senses and experience the work. I may not be engaged by a work in its entirety, but there’s always some part that communicates something special, offers some interesting and inventive movement, or I might be inspired by what a particular performer brings to the stage.
What is your relationship with technology as a dancer, choreographer, promoter of your work, teacher, etc? How does technology keep you connected with the dance scene around the US, as well as keep you inspired?
I love to work with video and composing dance video. It’s a lot like composing physical dance but you manipulate images on screen, changing and altering its qualities, size and speed, and highlighting something in a movement that may typically go unnoticed. You can really cultivate what you want to be seen.
In terms of what technology I use to keep me connected with others and to promote events, I send announcements and communicate with other through email, post events on Facebook (www.facebook.com/KarlovskyandCompanyDance) and maintain a company website www.karlovskydance.org. I haven’t tackled Twitter yet; not sure if I have time to add another online task to my day.
Can you talk a little about the modern dance scene in Saint Louis?
It’s growing. We have several universities in the area that have strong dance programs. In the past, many students who graduated would leave St. Louis to dance elsewhere. But now, it seems that more students are staying in town and dancing with locally based companies (including mine!)
Final advice to young dancers:
- Be present– discover what that means for you.
- Work without a mirror. Give yourself permission to feel the movement and to understand where it is coming from.
- Accept yourself – be yourself and discover what you have to offer. Trends are well, trendy, but discovering your personal voice as a mover and/or a choreographer, and learning to trust your artistic instincts will make you and your work more distinctive and original.
- Keep an open mind. You may not necessarily like everything you see or everything you study in dance, but there’s a lot to learn from all experiences.
- Stay curious. Keep surprising yourself.
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