M A RG A R E T J E N K I N S DA N C E C O M PA N Y

               CHIME Two-Year Pilot Program Final Report:
                  An Assessment by Participating Artists

                                Art Becofsky
                  Executive Consultant/Advisor to CHIME
                     Margaret Jenkins Dance Company
                 3973A 25th Street, San Francisco, CA 94114

                               November 27, 2006

     Left Panel—2004-05 CHIME Artists—Standing: Erika Chong Shuch, Alma
     Esperanza Cunningham, Nina Haft, Robert Moses, Erin Mei-Ling Stuart, Joanna
     Haigood, Nancy Karp, Jodi Lomask. Seated: June Watanabe, Joe Goode

     Right Panel—2005-06 CHIME Artists—Left to right: Sara Shelton Mann, Ledoh,
     Lesley Ehrenfeld, Margaret Jenkins, Rhodessa Jones, Brenda Way, Zari Le’on
     (kneeling), Kathleen Hermesdorf, Jess Curtis, Jose Navarrete, Anna Halprin
                                  TABLE OF CONTENTS

Table of Contents ................................................................................................................. 2

Introduction to CHIME ...................................................................................................... 3

Summary of Report .............................................................................................................. 4

CHIME HISTORY AND PLANNING.......................................................................... 6

CHIME Two-year Pilot Goals, Guidelines, Applications, and Grants ........................ 8

CHIME ACTIVITIES....................................................................................................... 13

Artists’ Assessment of CHIME........................................................................................ 15

The Future of CHIME....................................................................................................... 50

Funding Sources, Staff, Board of Directors, and Contact............................................ 51

Appendices .......................................................................................................................... 53

           2005-2006 CHIME Guidelines and Application

           2004-2005 CHIME Awards Press Release

           2004-2005 CHIME Artist Biographies

           2005-2006 CHIME Awards Press Release

           2005-2006 CHIME Artist Biographies


CHIME is a mentorship program in which, during its two-
year pilot phase, self-selected pairs of professional modern
dance choreographers — mentor and mentee — receive
significant support over one year to establish and explore a
working relationship, which includes, but is not limited to,
work in the studio.

CHIME seeks to formalize the exchange and feedback
mechanisms      between established and   emerging

CHIME is a project of the Margaret Jenkins Dance Company
(MJDC), an organization based in San Francisco with a
history of developing creative responses to issues and
challenges facing the dance field.

For more information about the MJDC, please consult page 6
of the CHIME Guidelines in the appendices or visit

                        S U M M A RY O F RE P O RT

After a one-year planning period in 2003 funded by The James Irvine
Foundation, the MJDC launched CHIME, a two-year pilot program of
mentorship between choreographers in the Bay Area. The short- and
long-range objectives included, among other goals, encouraging emerging
choreographers by fostering an exchange among artists of different
generations, reducing artists’ sense of working in isolation, and creating
mechanisms for professional dialogue about and improvement of

During each year of the two-year pilot phase, five pairs of mentors-with-
mentees were selected by a review panel to receive stipends and cost-free
studio time for one year. Two choreographers would identify each other
for a mentoring relationship and apply jointly to CHIME, with
participants describing for themselves how best to achieve mentorship
goals. CHIME’s administration was responsible for organizing and
overseeing the group meetings and activities, monitoring progress of the
relationships and documenting the processes.

Among other documenting procedures, the participants were videotaped
in interviews by the artistic director Margaret Jenkins before their year in
CHIME began, and then again after their year had ended. Questions
were posed about their personal goals and the functioning of the CHIME
program to date. We have summarized the artists’ responses from their
exit interviews:

   •   The consensus of CHIME artists was that the program had been hugely
       successful in meeting all its stated goals, having done so in an innovative,
       thoughtful and supportive manner.

   •   Each pair of artists in mentor-with-mentee relationships developed an
       individualized plan of work and encounters to foster trust and to allow for
       exchange on matters related to the improvement of choreography.

   •   The artists, within rigorously defined application procedures for entry into
       the program, followed their approved plans for their year, yet also found
       unexpected ways for exchange within the span of time.

   •   Mentors and mentees alike felt the year of CHIME activities enriched them
       personally as well as professionally.

•   The participating artists detected changes in how they make work,
    improvements in their methods and in their presentations.

•   Mentees found the availability of paid studio time an enormous benefit to
    their experimentation and learning.

•   Artists hungered for and reveled in the CHIME group activities, which
    included meetings, showings and social functions.

•   Public viewings of dances or material worked on by the mentors and
    mentees in the CHIME LIVE! series of showings were helpful to all
    involved, for artists to establish and to review their personal criteria about
    what they bring to a stage, through an evaluation of all elements of
    presentation while in conversation with another professional.

•   All participating artists want to see the CHIME program continue essentially
    in its current form, with some suggestions offered for consideration about
    procedural issues and about the expansion of the program, should
    supplemental funding be available.

             C H I ME HI ST O RY A N D P L AN NI NG

At the core of a number of interrelated problems facing choreographers is
their isolation from one another. The choreographer’s craft is essentially
a private affair, as it has always been. Dances are conceived and crafted
in isolation from any helpful influences of other knowledgeable craftsmen
in the dance field. However, avenues previously available to
choreographers for training, for the perfection of their output, and for
sharing career experiences with others, have withered or disappeared
over time. There now exists no organized way for choreographers to learn
from one another’s experiments — other than seeing the finished
products on stage. There are few if any gatherings—local, statewide or
national—where choreographers can come together on a regular basis to
share stories of their craft, let alone to share the actual craft itself. Work
gets to the stage in advance of its truest readiness; artists experiment,
err or achieve breakthroughs without others benefiting from the pursuit.

Positing a need for networking between choreographers of various levels
of professional development, the MJDC sought and received funding for a
one-year planning phase to consider the best way to launch a new
program related to choreographer exchange. The James Irvine
Foundation granted $120,000 toward this research and planning period
in California.

                            THE PLANNING PHASE

       With dance touring less vibrant than it has been in many years, and in a
       more unstable world than ever, choreographers and their organizations are
       more than usual working in isolation, and without much sense of promise.
       We must be in conversation in and out of the studio sharing ideas and
       experiences. CHIME can galvanize and support this exchange in these less-
       than-abundant times. —Margaret Jenkins

   Objectives of the planning period were:

   •   to investigate models of mentorship used in other artistic disciplines with
       possible relevance to a program for choreographers

   •   to research and develop a more complete, composite list of questions from
       knowledgeable sources, guiding the formation of a choreographer’s
       mentorship program

   •   to identify choreographers who would benefit from a mentorship program

   •   to survey a range of the identified choreographers interested in helping to
       shape the program through focus groups, meetings and interviews

   •   to identify procedures for unobtrusive documentation of a proposed
       mentorship program

   •   to document the meetings and interviews with artists, and to interpret the

   •   to draft a pilot mentorship program integrating these findings with facts and
       opinions gained through our research

In the 2003 planning phase, research identified literally hundreds of
choreographers practicing in the San Francisco Bay Area. Over 40 of
these active choreographers spoke with the researchers in brainstorming
meetings and individual interviews. All of the artists felt there was a
very keen need for community exchange in choreography, and
acknowledged that a well-crafted mentorship program would be critical
to sustaining this much-needed exchange of ideas in the dance
community. Overwhelmingly, choreographers expressed a strong
yearning for extended and in depth discourse about dance-making, and
that CHIME, addressing the needs of emerging choreographers, would be
a welcomed addition to the dance scene.

Distilled from these conversations, artists sharing private space together
over a span of time, and defining the use of that time for themselves,
became the most integral, desired element to mentorship exchange in the
eyes of potential participants.

The MJDC planners were gratified yet overwhelmed by the enthusiasm
for mentorship in choreography as expressed by representatives from
across California's broad geographic and aesthetically diverse dance
community. It became clear that, for the pilot phase, rigorously defined
criteria for participation would need to be put in place. A manageable,
affordable sample was identified as the focus of this two-year test period:
the modern dance community of the San Francisco Bay Area.


The planning period research led to the construction of the two-year
CHIME pilot project. Its articulated goals, guidelines for granting, and
application procedures were a direct consequence of the valuable
conversations across California.

                                    THE GOALS OF CHIME

    •    to improve the quality of choreography and the general health of our dance

    •    to encourage and stimulate the artistic growth of emerging choreographers

    •    to foster exchange between emerging and established choreographers

    •    to create an arena for the rigorous, critical analysis of choreography

    •    to set up an ongoing format for sharing career experience, observations and
         dance history

    •    to promote continuing education of choreography outside of the academic

    •    to establish long-term relationships between dance community members

    •    to diminish the isolation so prevalent among working choreographers

                          GUIDELINES AND APPLICATIONS

( F O R C OM P L E T E C H I M E G U I D E L I N E S A N D A P P L I C A T I O N F OR M , S E E A P P E N D I X)

The CHIME guidelines and application were novel. There were no
approved lists of mentors or mentees from which to select, few fixed
requirements of how a linkage between two choreographers would reach
personal mentorship goals, only a set of flexible targets for the program
and for the pairings, and an understanding by the participating artists
that they would need to invest significant amounts of time crafting their
own personal approaches to achieve the program goals.

Once the guidelines and application were complete, the MJDC publicized
the program, cultivating interested applicants. The MJDC created a
CHIME postcard announcing the initiative, mailed to hundreds of Bay
Area choreographers and distributed to dance studios, theaters and
nonprofit arts institutions. Public relations consultants Encore
Communications generated a press release, which was distributed to
local media outlets and publications, announcing CHIME’s application
process and with information on how to apply. The MJDC staff initiated
an e-mail campaign to increase the awareness of CHIME. Those receiving
these e-mails were asked to pass along the information to colleagues in
the Bay Area choreographic community.

      Extended time together can lead to trust, where deeper discussion and
      experimentation around the concepts underlying dance making—about
      everything related to dancers, collaborations, productions and presentations—
      can take place. — Margaret Jenkins

During each year of the two-year pilot phase, five pairs of mentors-with-
mentees were selected by a review panel to receive stipends and cost-free
studio time. There were no specific pressures or requirements on any
participant to make new choreography—to review and to revise existing
choreography could be as appropriate an approach to a pair’s
mentorship plans as creating new work. In either case, it could be
assumed that two artists, having chosen to establish an atmosphere of
mutual respect and safety, given sufficient time, could affect change in
dances shown on stage to a public.

Two choreographers would identify each other for a mentoring
relationship and apply jointly to CHIME, and participants described for
themselves how best to achieve mentorship goals they had established
together. Guidelines offered suggestions for possible mentoring
activities, including showing works in progress to one another,
discussions around choreographic questions, and seeing and critiquing
local dance performances together. A mentee might visit a mentor in
rehearsal and observe how he/she makes work, interacts with his/her
dancers, deals with choreographic problems and their variable solutions.
A mentor might come to rehearsals of their mentee on a regular basis,
offering sustained feedback and advice toward whatever goals they had

selected for their partnership. CHIME provided the space, financial
support and the structure; exploration about their individual
relationships to craft and continuity would develop independently.

Beyond the private activities of the artists’ mentoring time, CHIME
organized regularly scheduled meetings of all participants to share their
discoveries, as well as public activities to engage the greater community.
Activities included public showings, open forums among the mentors and
mentees, panel discussions on specific topics generated by the
participating artists, and separate gatherings of mentors and mentees to
share their experiences.

The duration of two years was selected for the CHIME pilot phase to
provide a larger sample of participants from which to learn, as well as to
track possible supplemental benefits to the choreographic community as
the participants of one year commingle with those ten new artists
beginning the second year’s program. While the first year’s CHIME artists
received no funding or studio time for their participation in the activities
of the second year, they were invited to and included in public activities
and meetings, and were kept abreast of CHIME functions via e-mail.

It would be the expectation of all involved that, as the program proceeds,
there would be increased levels of networking and information sharing,
more and more experiences to compare and contrast, more and more
opportunities for choreographers to be in contact with one another for
everyone’s professional benefit, as the group of participants and ex-
participants widens. The development of activities to increase interaction
with the wealth of dance leadership among Bay Area choreographers as
well as to cultivate the next generation of dance leaders among us can be
pursued as CHIME continues.


Mentors received a fee of $7,000 and mentees received a fee of $3,000.
The larger fee for the mentor acknowledged those with decades of
experience in the art form as choreographers. Additionally, up to 100
hours of cost-free studio time was provided to each selected pair of
choreographers to pursue their CHIME goals as detailed in the project
description in their application form. This studio time was intended
primarily for the use of the mentee.


   •   artistic excellence of the mentor (evaluated on past performances and/or
       work sample)

   •   artistic potential of the mentee (evaluated on past performances and/or work

   •   clarity of mentorship goals

   •   importance of the mentorship to the mentee at that time

   •   importance of the mentorship to the mentor at that time

   •   ability of both the mentor and mentee to undertake the time commitment
       this project will require

   •   the degree to which the proposed mentorship addressed CHIME program
       goals and values as articulated in the guidelines

                                     PA NEL PROC ESS

44 artists were represented in the 22 applications for mentorship
received for CHIME’s first year of grants. An advisory panel of national
and regional specialists in the dance field reviewed the proposals and
selected five pairs of CHIME grant recipients. The panel, held in San
Francisco on May 25 and 26, 2004, consisted of Liz Lerman (founding
artistic director of the Dance Exchange in Washington, D.C., and 2002
recipient of the MacArthur Genius Fellowship), Wendy Rogers
(founder/artistic director of Choreographics, and professor of dance at
the University of California, Riverside) and Rita Felciano (dance critic for
the San Francisco Bay Guardian since 1988, Bay Area correspondent for
DanceView Magazine, and regular contributor to Dance Magazine, and
the online DanceViewTimes).

It was the general consensus of the panelists, all seasoned veterans of
various panel processes, that this was the most challenging panel ever –
as they were not just evaluating artistic excellence of one artist compared

to another, but comparing potential for artistic development of a pairing
of two artists.

The MJDC was gratified to receive thanks from a number of applicants,
including those who were not funded, that the rigor of the application
process was in and of itself a benefit to them in their planning and

One 2004 CHIME applicant who did not receive a CHIME grant wrote: “I
just wanted to tell you guys how much I enjoyed the process of applying
for CHIME during its first round. It feels like a seriously timely and
relevant program to be investing in at this point in San Francisco dance.
A lot came into focus for me just by being involved in a conversation of
potential mentorship. So, thanks for creating the grant, and thanks even
more for the unusually accessible application process.”

For the second year of CHIME’s pilot phase, 18 applications were
received representing 36 Bay Area choreographers. From these
applications, five pairs were chosen for CHIME grants. The advisory
panelists, at meetings held in San Francisco April 25 and 26, 2005, were
Elizabeth Streb (artistic director of STREB and the STREB ACTION
INVENTION LAB, located in Williamsburg, Brooklyn, and 1997 recipient
of the MacArthur Genius Fellowship), Wendy Rogers (founder/artistic
director of Choreographics, and professor of dance at the University of
California, Riverside) and Ken Foster (executive director of the Yerba
Buena Center for the Arts in San Francisco, a highly respected arts
administrator, curator, educator and performing arts presenter).

                           CHIME ACTIVITIES

For the first year of CHIME, the grantees were: Joe Goode/Erika Shuch;
Joanna Haigood/Jodi Lomask; Nancy Karp/Nina Haft; Robert
Moses/Alma Esperanza Cunningham; and June Watanabe/Erin Mei-
Ling Stuart.

For the second year of CHIME, the grantees were: Jess Curtis/Jose
Navarrete; Anna Halprin/Lesley Ehrenfeld; Rhodessa Jones/Zari Le’on;
Sara Shelton Mann/Ledoh; and Brenda Way/Kathleen Hermesdorf.

From July 1, 2004 through June 30, 2006, the Margaret Jenkins Dance
Lab (MJDL) hosted all CHIME activities.

Artistic Director Margaret Jenkins and the CHIME administration
organized four quarterly gatherings of all participants, a separate
meeting for all mentors and mentees, and meetings with each artist pair.
Five videotaped sessions at the beginning of the year and an exit
interview session meeting were also scheduled to chart program
expectations and fulfillment.

The MJDC produced a free lecture/demonstration for each pair, where
they showed work—finished or in progress—and discussed the activities
of their mentorship year with audiences. Public events, called CHIME
LIVE!, were held at the MJDL:

   •   Jodi Lomask and Joanna Haigood: March 16, 2005
   •   Alma Esperanza Cunningham and Robert Moses: April 2, 2005
   •   Erika Shuch and Joe Goode: April 24, 2005
   •   Nina Haft and Nancy Karp: April 30, 2005
   •   Erin Mei-Ling Stuart and June Watanabe: May 1, 2005
   •   Jess Curtis and Jose Navarrete: April 2, 2006
   •   Sara Shelton Mann and Ledoh: April 30, 2006
   •   Rhodessa Jones and Zari Le’on: June 10, 2006
   •   Brenda Way and Kathleen Hermesdorf: June 14, 2006
   •   Anna Halprin and Lesley Erenfeld June 14, 2006

      This program for organized professional exchange was devised with the best
      artistic and administrative input we could find. After two years of trial, has
      this program mattered to the artists and to their work? How can it be
      improved? How can we quantify whether choreography has been improved
      through CHIME? No one can ever be sure about something so subjective as
      “better” – however, when twenty artists dig deep into their processes and find
      that they have solved problems together, and that there are lessons where age
      and experience in a contemplative environment can have an impact, there can
      be no doubt that we’re on the road to somewhere wiser. Everyone has learned
      to “move” forward differently. —Art Becofsky, Advisor to CHIME

                               DOCUMEN TA TION

A detailed and careful process of documenting the CHIME pilot phase
was devised, to learn as much as possible from all the individual and
collective experience, to inform the program after the pilot was
completed. The MJDC contracted a San Francisco-based filmmaker in
dance, Austin Forbord, to document all CHIME-related activities,
including videotaping entrance and exit interviews with the participants,
all meetings and all public showings, toward compiling a documentary
on the subject of mentorship in the arts. This documentary will serve a
broad community of artists and funders interested in mentorship
opportunities and techniques.


Upon completion of each year of the pilot phase, the mentors and
mentees were asked the following series of questions to evaluate the
program from their personal experiences as participants. After each
question is a short analysis of the answers received and a representative
selection of the artists’ written responses.


1. Based on your mentorship experience, to what degree do you think
   CHIME has met the program’s stated goals?

The goals of CHIME included both broad and specific areas of concern for
the program. While acknowledging both the difficulty in assessing the
qualitative improvement of choreography and how quickly a year passes,
artists enthusiastically responded in unequivocal terms that the program
had been successful, that participation in CHIME had moved their
thought and actions in many positive directions. They could either see
the immediate benefits to the works they were making during the course
of the CHIME year, or they could envision themselves working in new
ways in their coming creative periods.

  (C HIM E) pro vide d a              There are so many choreographers who never had
                                      formally studied choreography in an academic
   platfo rm fo r a dee per           situation or in workshops (there are very few
 aestheti c discussion than           workshops offered). I think this program has the
    most of us can e ver              ability to really provide some valuable and
                                      necessary tools to dancers who are interested in
 man age with our pee rs o r          making the transition from “interpreter” to making
  our younge r colle agues.           choreography. Hopefully it will inspire them to
                                      continue their investigation/study beyond their
   own “trial and error” process. —Mentor/Joanna Haigood

   I was given time, space, and support to investigate and articulate my creative process and
   that has ultimately fostered a certain level of confidence that informs my work. Most of
   all, I benefited from my relationship with Robert (Moses) as I was able to see my work
   from a different perspective, and get some very specific and valuable feedback. I entered
   the beginning of my CHIME year expecting that I would learn much, and I did. I not
   only have this relationship with my mentor that I am sure will continue but I also formed
   relationships with 9 other artists. —Mentee/Alma Esperanza Cunningham

   The beauty of mentorship I believe is that it gives you a new perspective from which to
   evaluate all other information. The beauty of CHIME in particular is that you get to do
   this in a room full of others who are going through the same process and you thereby
   have the ability to circumvent and evaluate non-productive routes to creative ends.
   Untried paths seldom lead directly to intended destinations in the way we believe they
   may at the beginning of a journey, like a destination on a hilly, winding road, your goal
   can seem to be directly in your path but the truth is that, from the distance, you are not
   able to see the twist and turns ahead. —Mentor/Robert Moses

   CHIME has been invaluable to me – I have a mentorship that continues, I sat among 6
   mentors whom I respect, admire and hope to emulate in my commitment to the form
   and the field, and I was able to begin a piece that I am very excited about outside of
   previous isolation and receive feedback from peers and mentors. Invaluable. I believe
   the emphasis on mentorship is crucial and that this mentorship, both in pairs and as a
   group, is an extremely good way to encourage depth of relationship (we need each
   other), cross-generational and cultural interaction (we need each other), and stimulation
   of stronger, more adventurous work and dialogue (we need each other).
   —Mentee/Kathleen Hermesdorf

 CHI ME has             CHIME has given me the opportunity to have my work taken
  given me the          seriously by somebody I respect and admire. This has been
                        validating…. I am getting a sense of how it is that any community
 opportunity to         is a collection of individuals and the more these individuals are
 have my wo rk          being inspired by each other, the stronger the community itself
taken se riously        becomes. Each member of CHIME, I’m confident, was taking a
                        bit of the information or enthusiasm gleaned back to our respective
 by some bo dy I        communities. These are the ties that bind. These are the webs
   respe ct an d        being spun, the veins in the collective body full of dialogue and
     admire.            inspiration, pumping. —Mentee/Erika Shuch

I think the general health of the Bay Area dance community is greatly enhanced by this
program. Not only does it provide emerging choreographers with an experienced eye
for their work, but it fosters a conversation between choreographers involved in the
program. —Mentor/Joe Goode

This program has helped me to reflect on how my work is situated in the larger dance
community, and how it is a product of historic factors, such as my training and time of
coming into voice as an artist. Our conversations during CHIME meetings about
through-line in work have been enormously illuminating to me, as has been going to see
the work of my fellow CHIME participants with our shared
conversations in mind. I see more clearly why my work is often read          My work is
as either modernist or postmodern, and specifically how my               beco ming mo re
methods and materials draw from both traditions in dance.
—Mentee/Nina Haft                                                          specifi c and
                                                                              focuse d as a
                                                                            dire ct result of
I think that the CHIME program has been successful on all                   parti cipating in
counts…. Re: the isolation issue - Having a commitment to another              CHI ME.
choreographer and an investment in her work was the first step in
breaking the isolation I have felt for years. My exchanges with Nina (Haft) were always
rich and productive. —Mentor/Nancy Karp

The greatest danger in isolation is that creative synergies are not fostered or afforded the
space to emerge. Our collective work can become such a stronger force in the world if
we are not hiding in our studios, in front of our computers, in our personal agendas and
schedules, but feeding on the potentially charged space between creative people. As
dancers we know this on a visceral level yet need help in applying it on an organizational
level. Major artistic movements don’t tend to emerge from isolation. It takes the empty
space between multiple people to do this… By offering an arena for rigorous, critical
analysis of choreography, by giving financial compensation for time spent, CHIME has
allowed us to go deep enough into each other’s work that we were able to avoid simple
and extreme responses and instead learn the nuances and intricacies that make our work
each our own. —Mentee/Jodi Lomask

My work is becoming more specific and focused as a direct result of participating in
CHIME. This is directly due to having abundant space and time to dive into something
without a deadline, and to the greater level of detachment I achieved by having my
mentor in the room. I have also grown artistically through reflecting on our many
stimulating conversations during our quarterly meetings. —Mentee/Nina Haft

I was very impressed by the thoughtfulness, the attention to detail shown by all the
participants in this program. Our conversations having to do with growth, development
and longevity, I believe, both re-enforced the commitment of all of us to our root
inspirations and placed new ground under our feet for consideration.
—Mentor/Robert Moses

The group processing aspect was incredibly rewarding and very enlightening, getting to
know the artists, especially the mentors all of whom have known one another for years
and decades without this kind of intimacy. The camaraderie and a sense of
connectedness evolved as there was a genuine concern for one another and an interest in
one another’s processing - wonderful support. A very congenial and interpersonal group,
we were. A kind of community was created and will extend beyond the one year of
meetings – at least in feeling. When have we ever been able to just talk and share, on a
human level about the creative process? —Mentor/June Watanabe

I think that an “improvement” (of choreography) can also be measured by the
willingness to engage in new risks and tasks. The only way to pave the way for
improvement is perhaps to build new obstacle courses, find new questions, discover new
priorities and let go of old ones. —Mentee/Erika Shuch

Working with an artist of Sara (Shelton Mann)’s caliber, I had to learn more about give
and take in the creative process. —Mentee/Ledoh

Sharing our concerns, methods we used for feed-back, what our own approach to
choreography is based on and how it was like or different from our mentee. Out of this
interchange an arena for rigorous critical analysis of choreography could emerge.
—Mentor/Anna Halpern

The program certainly succeeded in fostering exchange among artists of various
generations, a lovely thing, and I enjoyed taking part in the several collaborative
relationships selected for this round of CHIME. I thoroughly appreciate this rare post-
graduate opportunity, much like a post-doc in science, which helps launch promising
professionals into the field and, at the very least, improves their critical palate.
—Mentor/Brenda Way

   It was…important that the air of familiarity and relaxation was there to allow people to
   be very real and vulnerable. The analysis was critical and to varying degrees rigorous
   according to where the choreographer was in their process. The group I was with was
   so amazing and inspiring. I felt myself so inspired by the presence and words of the
   mentors in this group and Margaret Jenkins leadership. —Mentor/Sara Shelton Mann

   Now I feel that I have a pool of peers and mentors where to go to ask for help if I feel
   frustrated or unhappy with my work. —Mentee/Jose Navarrete

     I felt like our group
                                         Both in my experience with José and watching
discussions affo rded dis cou rse        other choreographers in the program
 around choreo graphic values            improved the quality of the work I saw
and re al wo rld processes that          presented by CHIME participants. Even if
                                         only to the degree that participants were
are rarely dis cusse d in publi c        afforded time for reflection and process on a
  forums such as newspaper               different level than they would normally have.
reviews, profession al journ als         I felt like our group discussions afforded
                                         discourse around choreographic values and
   or cho reog raphy cou rses.           real world processes that are rarely discussed
   in public forums such as newspaper reviews, professional journals or choreography
   courses. —Mentor/Jess Curtis

   I think our critical language could be enhanced….. How critically engaged should we be
   during the process? When is the right time to really probe and question? What do you
   do to be helpful when you simply can’t relate to what your mentee is doing? What
   systems do people use if any? What is the difference between student mentoring and
   young choreographer mentoring? Break out sessions for the mentors might cover these
   areas. I think some basic critical evaluation criteria discussion would be great. It also
   would make tasty conversation. —Mentor/Brenda Way

   CHIME serves a great need in this arena. My last composition classes were in 1991, and
   I have continued my education in companies…where I was able to be a choreographic
   collaborator. Establishing my own methods and language required something like
   CHIME to push my creative growth and improve the quality of my work. I needed a
   breakthrough and CHIME allowed it to happen. —Mentee/Kathleen Hermesdorf

2. Were there specific experiences or exchanges with your
   mentor/mentee that relate to improving choreography, fostering
   exchange and or diminishing a sense of isolation?

The participating artists developed an array of personal techniques for
sharing information and developing trust over time. Artists expressed
appreciation for being allowed the chance to find their own way toward
successful mentorship within generous guidelines. The mentees
arranged for significant amounts of time to be made available to both
their mentors and for using the cost-free studio time. They, to a person,
mentioned the breaking of isolation as a key development during their
CHIME year. Enthusiastic expressions came from the mentors as well,
having found themselves changed in the process of imparting
information and sharing time with a younger artist and their approach to
making dances.

                                                                    I think ou r most
   Robert (Moses) observed one of my rehearsals and
   mentioned that I might consider letting go of the work a    fruitful exchanges
   bit, meaning letting go of the specificity. I found this    were afte r the full
   insight incredibly valuable as I had been trying different  CHI ME meetings
   ways to approach making work. I thought much about his
   comment and was able to then identify that the specificity and pe rfo rm ances in
   and clarity of intent were necessary for me to              the car on the w ay
   communicate in the abstract, and that growth for me was            home.
   not about doing something different but about pushing
   what I do even further. I think CHIME has given me the confidence to move forward
   and take larger risks. —Mentee/Alma Esperanza Cunningham

   I think our most fruitful exchanges were after the full CHIME meetings and
   performances in the car on the way home. The context of others’ comments or
   perspectives on their work served as an additional frame for our dialogue. Through our
   one-on-one sessions and the added input from evening’s earlier sessions, we were able to
   arrive at more clarity in relationship to Alma (Esperanza Cunningham)’s choreographic
   proclivities. —Mentor/Robert Moses

   Joe (Goode) gave me some of the roughest feedback I had ever gotten. He told me I
   needed to cut a bunch of stuff, he said there were too many ideas and not enough follow

  through. He basically went scene by scene telling me that each scene needed to be
  edited. I was already planning my own cuts, but I had doubts as to whether or not I was
  being too impulsive. Up until this point, Joe’s feedback had been more like suggestions
  or questions for me to ponder. Not this time. This was like Joe handing me a scalpel,
  giving me permission to perform an emergency surgical procedure. And so I got to the
  theater that night and cut away, thankful that Joe had reaffirmed my own instincts. Even
  though it was super tough to hear his thoughts initially, the conversation helped give me
  the courage to make big, dramatic decisions. —Mentee/Erika Shuch

  The most profound exchange with my mentee related to her choreography was about
  the structural rigor of what she was doing. I was able to ask her to set formal goals for
  the new work she was making and to steer her away from just making something that
  would please an audience. I asked her what she wanted to learn or do differently in this
  particular process and to state those goals clearly so that at the end of the process she
  could evaluate her success. I also asked her to think beyond the postmodern model of a
  presentation of fractured bits and to strive for a more coherent whole. She was nervous
  at first that I was asking her to return to linear narrative but ultimately I think I was able
  to make her understand that I was just asking that the piece talk to itself and not be a
  collection of scattered conversations. Of course, clarifying this for her was a way of
  clarifying it for myself. —Mentor/Joe Goode

  During Nina (Haft)’s rehearsals I attempted to be an active observer, posing questions to
  her ranging from choreographic intent and focus to the nitty gritty of spatial patterns
  made by the dancers, movement dynamics, the integration of the face with the rest of
  the body, numbers of dancers in any given section, performance focus, consistency of
  character, the “owning” of the movement by each dancer, and so forth. As the
  rehearsals progressed, Nina found a way to answer these, and when I felt there was still
  room for more exploration, I persevered with additional questions. Her “Mit a Bing Mit
  a Bang” piece is still in progress, yet I feel she made great strides over the concentrated
                                 year of rehearsals. —Mentor/Nancy Karp

 The enti re proje ct
helpe d to diminish a
                               Although my major focus this year was on narrative, I did
 sense of isolation.           choreograph a short, pure movement piece for four
                               dancers. Nancy (Karp) came to an early showing of it and
  was instrumental in helping me understand what I had made and how it read, paving the
  way for me to construct a second section. She also suggested the perfect dancer to pair
  with one of my company members for the project, and offered to help me with a three-
  camera video shoot of the work. —Mentee/Nina Haft

The entire project helped to diminish a sense of isolation. At first, we decided that I
would work on solo sketches and studies in the studio that weren’t related to a
performance project. This was something I really hadn’t done before. I both improvised
and created phrases in the studio and videotaped them, then June (Watanabe) and I
would watch the videos together and discuss specifics, such as using space in a fuller
way, ways of finding new movement, and staying with one idea for longer periods of
time. —Mentee/Erin Stuart

We assessed and defined some of the habits and ways of the mentee’s thinking about
work and what is usually done, also approach in use of rhythmic structures/phrasing,
relationship to the audience, relationship of the dancers dancing, dynamics or lack of and
what caused it, movement materials, building of the dance, non-/development of
materials, layers of meaning. We talked at length about how to find meaning in the raw
materials without first imposing intention and how to get deeper into a work. This was
discussed as the mentee was developing and also incubating ideas intellectually prior to
starting the actual choreography. Because skimming the
surface leaves viewer with many interesting things to look at          My role shifte d
but not feel, unless developed. We shared perspectives that              from being a
were very strong in her work as we viewed videos. We had
hands-on sessions where she had worked on improvisations,               techni cian in
not necessarily the exact suggested explorations, but making           cho reog raphy to
them work for her own aesthetic and personal needs.                  being a mento r in
—Mentor/June Watanabe
                                                                   the connection
                                                                  between life an d
Anna (Halprin) and I attended and critiqued performances,
                                                                  art. This was a
discussed the challenges of being a mother and an artist,       profoun dly tou ching
participated in a ritual to prepare me for the journey of labor, experien ce fo r me .
stayed together at her home…and viewed one another’s
work….Our non-dance focused time was as valuable to me as
our dance focused time….Anna is my mentor, my teacher and my adopted Jewish
grandmother. — Mentee/Lesley Ehrenfeld

My role shifted from being a technician in choreography to being a mentor in the
connection between life and art. This was a profoundly touching experience for me and I
hope a lasting lesson for Lesley (Ehrenfeld). Making art as a personal response to life
art. —Mentor/Anna Halprin

       José (Navarrete) and I created a little “practice piece” together in order for me to show
       him a kind of model for how I work on a new idea. He performed the piece in a benefit
       evening for my company and a version of the material ended up in his piece, Butterflee.
       —Mentor/Jess Curtis

       Straightforward discussions, personal exchanges and the demands of articulating
       choreographic intent all may play a role in both improving the work itself but certainly,
       in reassuring the mentee that she is not alone. We all face the same challenges and
       insecurities…no matter how long we have been at it. —Mentor/Brenda Way

       What were triggers and offenses to (my mentee, Ledoh) were not to me, so I began to
       try and understand our relationship from his cultural view. This led me to consider how
       this happens to all of us in our conversations about life and work and collaboration.
       How do we become defensive and why? What seems to be unavailable to us that are to
       others? What do we need and want that seems out of reach. Why do we believe that
       others do not understand us? —Mentor/Sara Shelton Mann

       Jess (Curtis) gave me some dramaturgical feedback, what audiences see when a
       choreographer presents two different characters in a scene. Jess’s suggestions were very
       stimulating and inspiring. His suggestions focused my attention in improving the
                                     weakest parts of the piece. —Mentee/Jose Navarrete
I felt su pporte d in that my
 artistic im pulses dese rve d
 the time an d autho rity to          Zari (Le’on) approached my mentorship with a
     thri ve an d deve lop.           fascinating innocence. From the onset she trusted that I
                                      would have the answers to her many questions. It was
       simplistic to the sublime. For instance, she stressed about the costumes and makeup
       ideas presented to her by one of the dancers. She feared that this person’s ideas were all
       wrong for the choreography/performance. We spent an entire telephone conversation
       on the topic. She expected me to fix this for her! … I witnessed Zari slip into her role as
       choreographer with a greater ease and poise. It was as though a light had come on.
       — Mentor/Rhodessa Jones

       Rhodessa (Jones) would challenge me to assert my creative impulses by saying, “if that is
       what you want, make them do it - they are your dancers, and this is your vision.” I felt
       supported in that my artistic impulses deserved the time and authority to thrive and
       develop. —Mentee/Zari Le’on

3. At your videotaped interview when you began your CHIME
   mentorship, you were asked about your expectations about the
   mentoring relationship, what you hoped to accomplish, your stated
   goals and how you might affect change in your work and the art
   around you. Did the year proceed as expected in this regard? What
   was reinforced and what surprised you? What worked and what did
   not work for you? Did your work change? If not, do you see it

Flexibility built into many of the project descriptions written by the
artists in their applications allowed for unexpected activities or
unanticipated opportunities for exchange. However, CHIME was a new
program, and no one knew precisely what to expect. These ten pairs of
artists had put great thought into planning detailed projects selected by
the panel, and with only small exceptions, the artists kept to their plans.
As one could expect, through the course of their planned year of
exchange, some surprises appeared.

   My work has changed as a result of the mentorship. I looked back over my application,
   and my choreographic interests have also shifted somewhat. I am still, as I was then, very
   interested in finding a sense of honesty and humanity, even within abstract form. I feel
   I’ve made progress in this area, and hope I will continue to. When we began the
   mentorship, I was very into complexity and layering. I mentioned in my application that
   it might be interesting to explore simplicity, and I think that was something June
   (Watanabe) saw as important, but honestly at the time I don’t think I was really
   interested in pursuing simplicity. And now I am very interested in it. The piece that I
   ended up developing during the mentorship does have quite a bit of complexity, but
   throughout I found it very important to let moments register and resonate. The work in
   its current state looks very different from my previous work. —Mentee/Erin Stuart

   I have for sometime now been I have been wanting to get back to pure movement and
   working with Erin (Stuart) has reinforced this urge to do so – perhaps it will show up in
   the solo I will create for her. Interesting time to do this now, having become somewhat
   familiar with both her artistic and personal beings. Also what might influence me was her
   concern for details, so early on in finding the work whereas I usually would wait until the
   materials were formed. It both sets a style and affects the formal structure early on.
   —Mentor/June Watanabe

    One of my stated goals was to learn how to edit my work more effectively. I have no
    difficulty generating material, but I have had trouble containing the work and staying on
    track, which has led me to create overabundant performance displays. Joanna
    (Haigood)’s work is so streamlined, contains nothing extra, and I wanted to learn how
    she did this, how she kept it so simple, clear, and elegant. I was surprised that Joanna
    reflected my work, with its strengths and its weaknesses, in much the same way that I
    saw it. This has been a gift, giving confidence in my own perspective – letting me know
    that I actually know what is needed and to trust my feelings, rather than thinking or
    talking myself out of what I know. —Mentee/Jodi Lomask

    I came to appreciate how (Nancy Karp’s)         Breaking this isolation was
    gentle support and presence gave me space to   invalu able to me, and I come
    detach from my work just enough to let it
    grow and change. To try new things. To stick   away much mo re cons cious of
    with something I made and to explore its           how my choi ces add u p.
    possibilities.  Breaking this isolation was
    invaluable to me, and I come away much more conscious of how my choices add up.
    —Mentee/Nina Haft

    I started into this CHIME mentorship hoping that my mentee would dislodge some of
    my carefully formulated methods and show me something new. This happened in the
    sense that I was introduced into her way of working which is perhaps more democratic
    than mine. Sometimes her willingness to listen and to be influenced by the members of
    her ensemble yielded great results. Did my work change? I think a little because I was
    seeing it through her eyes. —Mentor/Joe Goode

 I like to s ay that
 CHI ME g ave me              What the ongoingness of this relationship allowed was staying
                              immersed in it at a very conscious level whereas because it is
  the time an d the           often so private and personal in the process of creating work,
suppo rt to take my           thoughts often remain intuitive or reflective. This process
 work three layers            became something more tangible as there was attention on
                              communication, human interaction, and much evaluation. It
      deepe r….               made me aware of how strongly I felt about certain things, and
                              what really mattered, and reinforcing beliefs, and the fact that
    I cannot shut up – if something is not right I will say so. —Mentor/June Watanabe

    I like to say that CHIME gave me the time and the support to take my work three layers
    deeper, something I have never before had the resources or the confidence to do. I

     learned a great deal about what the nature of the exchange between dancer and
     choreographer may be, which dancers energize me and why. I am wrapping up this year
     with a new challenge: how to let a dancer go. I will be soliciting advice on this one….
     —Mentee/Nina Haft

     My mentorship year did not proceed as expected. I found out I was pregnant soon after
     the grant cycle began and this changed the course of my year dramatically…. Anna
     (Halprin)’s methods for weaving life experience and creativity were central to my
     year….Anna was the perfect mentor at this time in my life as the events in my personal
     life took precedence over creating a finished piece. Anna helped me recognize the year
     as a fertile time of gathering resources for future work. —Mentee/Lesley Ehrenfeld

     We did not proceed as expected, her life situation surprised us and our work changed.
     Our work revolved around the question, “can I be a mother and at the same time an
     artist?” —Mentor/Anna Halprin

     I was thrilled to be able to encourage Kathleen (Hermesdorf) to take her time, reflect
     and try again. Watching Kathleen’s evolving vocabulary was both instructive and
     inspiring. —Mentor/Brenda Way

I was fo rced to ex amine
 my motivation, w hich             I come away feeling like my work did change in regards to
                                   clarity of language, making bolder choices, finding a better
 in turn, promo ted my             balance of formal and improvisational elements, stronger
  own authenticity an d            focus in rehearsal and on stage. —Mentee/Kathleen
     pers onal voi ce.             Hermesdorf

     Finding ways to inform Zari (Le’on)’s choices was disconcerting. I wanted to help but
     stay out the way. Thankfully, she always came with many questions. It gave me
     direction as her mentor. She initiated discussions about life and dreams. The mentor as
     sounding board became important. I enjoyed being the mother/elder to her
     observations, responses, doubtful misgivings, and scintillating ideas. It was exhilarating!
     —Mentor/Rhodessa Jones

   I was forced to examine my motivation, which in turn, promoted my own authenticity
   and personal voice. I wanted to produce work that would touch people’s lives and make
   an impact, and I was able to convey all of my intentions with finesse, craftsmanship,
   technique, form, and with the same ferocious energy and vigor that my work had pre-
   CHIME that I was always scared to lose through too much “molding”….I found
   balance. —Mentee/Zari Le’on

4. How would you describe the outcome of the mentorship personally
   and/or professionally?

Though difficult to quantify, absolutely all the
participants noted personal and professional
                                                                     I feel like I am
improvements following their year of CHIME                            owning up to
interactions. Both mentors and mentees offered                            my own
gratitude for the opportunity to have their work                       professional
analyzed by an array of caring eyes over time, and
to be able to offer their own perspectives on work                     identity in a
they were seeing. A number of the choreographers                        way that I
expressed a renewed vigor stemming from this                          hadn’t befo re.
validation of their careers and their talents.

   I feel more invested in the quality of work that comes out of our dance community, and
   personally more engaged in discussions with others in the field about their dances. And
   professionally…I feel a closer connection to the other mentors as well as a new
   connection and a greater interest in the further development in the work of all the
   mentees of the first round of CHIME. —Mentor/Nancy Karp

   First and foremost I think I made a valuable new friend and colleague in the field. I have
   enjoyed and so appreciated Jodi (Lomask)’s level of commitment to growth both as an
   artist and as a person and she has taught me quite a bit about professional partnerships.
   She is so bright and well informed and I find that in fact she was mentoring me in a few
   areas! I think being paid for this mentorship was really wonderful. For one thing, Jodi
   and I spent a lot of time together both in and out of the studio. Even though this, in
   many cases, would have been a worthwhile investment of my time without the money, I
   feel that it showed respect to the mentors and their contributions to the field of dance
   and art making. It certainly can be argued that this contribution extends to securing our
   society’s “cultural well-being.” —Mentor/Joanna Haigood

This past year has marked an important turning point in my professional life. Through
some alchemical collision between my mentorship through CHIME and the daily
musings of my own life, I feel different than I did a year ago. I feel like I am owning up
to my own professional identity in a way that I hadn’t before. I am admitting to myself
what I really “want to be when I grow up.” I want to be a choreographer. (This can be
so hard to admit. Because some part of me still doesn’t believe that it’s possible to be an
artist for real… to let that be my life, or at least my dream life.) I am realizing that
identity isn’t what other people put on me; it’s what I decide on for myself. (I am
responsible for my own nametag and I can write whatever I want on it.) On the customs
form in the airplane, they ask you to write down your occupation. (They also ask you this
when getting car insurance at AAA, or applying for a credit card.) The past year, I have
been saying “choreographer,” and that feels good. —Mentee/Erika Shuch

                                                               In isolation one
The mentorship has helped me to find new ways of            thinks they know
working. And although as an artist, I feel that I
need to investigate and work with the things that         what they nee d to do
interest me right now (which are different from the        to grow thei r wo rk,
things that interested me last year), the mentorship        but when someone
has also helped me to look at the continuum of my
work… I think my general way of working now has           calls it ou t clearly, it
shifted. While I still do a lot of thinking about the     is easier to m ake the
ideas that will go into a piece, and often prepare for      changes ne cessary
rehearsals by bringing movement or specific ideas, I
now leave more room to follow things that happen             with con fiden ce.
that are not planned. Again, for me, having our discussions grounded in the actual work
was very important. Otherwise I found it too easy to talk theoretically without it really
meaning anything. One thing I might do differently is I would consider involving the
dancers more. —Mentee/Erin Stuart

Anna (Halprin)’s and my relationship deepened as a result of CHIME, our relationship
evolved from student–teacher to a formalized mentorship. I also gained greater insight
into Anna as a complex human being. She is a dance legend and a wise elder and an
individual with idiosyncrasies, challenges and unanswered questions like all of us. This is
important lesson for me to embrace when interacting with anyone I admire personally or
professionally. —Mentee/Lesley Ehrenfeld

       The outcome demonstrated in her final performance was a huge success. It
                      demonstrated originality and the ability to create movement out of
This mentoring has stillness and content out of the deepest personal life issues.
                      —Mentor/Anna Halprin
   been su ch a gift
afte r so many ye ars
of working with the         Kathleen (Hermesdorf) and I thoroughly enjoyed our long
 walking woun de d,         philosophical discussions and personal/ professional reflections. I
  the m argin al an d       felt I could be useful in considering organizational, directorial issues.
                            I could encourage her instincts with regard to establishing
     underse rved.          expectations and standards with the dancers…all the hard parts
    CHI ME has              about being a leader. And for me, our time discussing aesthetics was
    helpe d me give         time I would not have afforded myself in the pursuit of issues that
                            matter deeply to me…. It was a pleasure. —Mentor/Brenda Way
 birth to a healthy,
 artistic daughte r.
        Our relationship will continue. I have an open door to Ledoh and his questions. I have
        an open door to let him stay here when needed in the city. He has given me an open
        door invitation to his home in Sonoma. We will return to the coffee conversations we
        used to have and yet they are different now. There is more professional accountability
        and more directness from our experience together. I can imagine sharing a program
        with him at some time. —Mentor/Sara Shelton Mann

        The outcome of the mentorship program was amazing for me, from getting to know
        closely great choreographers and sharing the process of making art with them, to having
        space and money to explore, improve and create work with the assessment of established
        choreographers. —Mentee/Jose Navarrete
                                                                     The outcome of the
                                                                  mentors hip prog ram was
        Personally, I hold Zari (Le’on) in high, high
        regard. I have great respect for her creative         am azing fo r me, from ge tting
        abilities, and I foresee her doing many brilliant           to know closely gre at
        and wonderful things. I have invited Zari and           cho reog raphe rs an d sharing
        company to work with us….for our Fall 2006
        production. They have accepted and I am                  the pro cess of m aking art
        delighted….This mentoring has been such a gift;         with them , to having s pace
        after so many years of working with the walking            and money to explo re,
        wounded, the marginal and underserved.
        CHIME has helped me give birth to a healthy,          improve an d cre ate wo rk with
        artistic daughter. —Mentor/Rhodessa Jones              the assess ment of establishe d
                                                                       cho reog raphe rs.
   Personally, I have become a stronger presence in my creative process. I don’t let the art
   happen to me—I am not at the mercy of every whim and fancy—I am allowed to make
   decisions and choices that will best affect the whole picture. I learned how to take
   responsibility for those choices and then build upon the choices to make the decisions
   stronger…. Professionally and personally everything in my life came a few steps up.
   —Mentee/Zari Le’on

5. How might you work differently after this experience? What have
   you learned from your mentorship experience? Were there any
   “lessons learned” that you would like to share?

The mentees in particular offered thoughts on how the CHIME
experience fortified them with tangible techniques for approaching their
work differently, to the intangible improvements of pride and value in
their work and a refreshed, positive attitude about continuing. Mentors,
too, found themselves thinking in new ways after the challenges of the
interactions of CHIME.

   Something has changed in my belief about the creative process – might it be a
   reaffirmation and a more solidifying sense of what felt intuitive earlier, might it be about
   a redefinition and more clearly seeing what is I believe and do? —Mentor/June

   I am now more informed about the common issues of making work both challenges and
   solutions across the scale of the participants of this years mentorship program. This
   being the case I may be more able to recognize some of the common trick bags we all
   encounter and deal with them succinctly. —Mentor/Robert Moses

                                                                           Something has
   I feel more courageous and I look forward to seeing how that
   influences my work…. Initially I thought that making my work            changed in my
   more accessible was important. Because of CHIME I feel more              belief abou t
   confident in my choreographic abilities and have a clearer               the cre ative
   perspective of what I do and the work I make. I think the beauty
   of my work is that it is challenging, and that making my work             process… .
   more accessible is not a priority at this time. —Mentee/Alma
   Esperanza Cunningham

    I learned that I knew more than I thought and that there was a lot more to get to. I am
    eager to incorporate a few tips I learned from Jodi (Lomask) regarding work-shopping
    material and how to conduct an informal showing and get the most out of it. She is really
    quite good at that. I have done very little of it but now see the value of it.
    —Mentor/Joanna Haigood

   My work (I hope) is changing. I was looking for new ways to work with the dancers in
   my company. Talking at great length with Nina (Haft) about how she directed her
   dancers, and encouraging her to work in some new directions, freed my thinking about
   my own process(es). The new piece I’ve just completed is the result of a new way of
   working. I have started some new choreographic methods in rehearsal. For example, in
   the past my method had been to spend a number of months investigating a vocabulary
   of movement with the dancers, developing sections, editing, and finally sequencing them.
                                                  In my new piece, (showing in a couple
                                                  of weeks) I set out to develop material
 I think the beau ty of my w ork is               sequentially in a linear fashion from the
  that it is challenging, an d that               first rehearsal forward, which is very
making my work mo re accessi ble is different from past approaches.
                                                  —Mentor/Nancy Karp
     not a prio rity at this time.

    I am working faster, deeper and with more confidence now. I brought in two new
    dancers for a recent project, and their feedback about the process confirmed this
    perception. I have also gotten better at recognizing when to back off and let intelligent
    dancers solve a problem, and when to intervene so that I get exactly what I want.
    —Mentee/Nina Haft

    There is a lot I am taking away from this experience, but what is having the most impact
    on me is the sense of grace with which Joanna (Haigood) approaches her life and work.
    This grace makes it possible to continue this work over the long-term while achieving a
    degree of contentment in life. I knew I wanted to get away from my tunnel vision, goal-
    oriented approach to development. This sense of grace has helped me balance those
    qualities with a more patient and present relationship with the work and dancers as well
    as an acceptance of the opportunities available to me. — Mentee/Jodi Lomask

    The “lessons learned” was that life itself in all of its personal challenges is profound
    material to be transformed by art/dance. —Mentor/Anna Halprin

  I am in a very different place professionally. I recently had an extended meeting with a
  presenter about showing my newest work next year. Were it not for CHIME, and the
  way it has heightened my appetite for rigorous feedback, I might have been much more
  defensive about what I heard. Instead I recognized the exchange as a prime example of
  really helpful ‘drive-by mentoring.’ While I know I will benefit from my ongoing
  relationship with Nancy Karp, I also find myself asking for help from new people, and
  receiving it in unexpected ways. — Mentee/Nina Haft

  I find myself looking at my own ideas in a more abstract and
  starkly visual way, perhaps even without meaning beyond              I am w orking
  what I am seeing. This is disturbing as I always look for          faste r, deepe r an d
  meaning. So, I am grappling with which direction to take a             with mo re
  piece of choreography or idea in. —Mentor/Sara Shelton
  Mann                                                                confiden ce n ow.

  I plan to have more input during my rehearsal processes and fight the fear of failure and
  isolation. I plan to rehearse for more hours at a time and for longer periods of time. I
  plan to look for funding to support the developmental process of future work. I tried to
  rehearse alone and that did not work out at all. I hope to break that open and figure out
  a way to inhabit the studio alone and be fruitful. —Mentee/Kathleen Hermesdorf

  I have learned to sharpen my ability to unearth the unspoken. I would say that Anna
  Halprin and Lesley (Ehrendorf)’s relationship touched me deeply. Their blurring of
  home, place, and art has greatly defined the CHIME process for me.
  —Mentor/Rhodessa Jones

6. Did you develop any new “language” for your work?

One would not expect in one short year of working together for the
development of new language to be a widespread outcome. However,
both mentors and mentees could point to new elements in their art and
process deriving from their CHIME experiences.

  Much of the past year was spent developing exercises used to generate movement
  material. That includes investigating partnering possibilities. —Mentee/Alma
  Esperanza Cunningham

I think that I have developed new languages for my work. I have been studying a lot of
other art forms lately and finding that the way artists of other disciplines speak about
their work feels very in line with what I am trying to accomplish. —Mentee/Erika

No, but what I do seems clearer. —Mentor/June Watanabe

                                                                     I think that I
I have recently expanded the scope of my work to include           have de velo ped new
curating. I am not sure if my experience with CHIME inspired
that but…who knows! —Mentor/Joanna Haigood                          langu ages fo r my

New language? -- not yet. – stay tuned. —Mentor/Nancy Karp

My CHIME LIVE! presentation was the first time I incorporated a large portion of
spoken word into my work…. It was challenging to share my naked vulnerability
through words and images while attempting to create a piece that was not simply
personal. I will continue to explore this edge in my work and plan to combine it with
stronger movement. —Mentee/Lesley Ehrenfeld

We’ll see. Not on the face of it, but who knows what lingers in the mind’s eye.
—Mentor/Brenda Way

I actually feel like I have less language. This is also interesting and a bit disturbing.
—Mentor/Sara Shelton Mann

No, but I certainly improved and polished my existing choreographic language.
—Mentee/Jose Navarrete

    I feel that I did develop new language for this work. I was able to dig into material and
    find more resonance, and had time to explore variations of solo and duet, active and
    gestural, tonal and textural material. It felt good. —Mentee/Kathleen Hermesdorf

  Rehearsing at the
                                  I developed a whole new language for myself over this past
 Dance Lab g ave my               year inspired in part by the discussions during our CHIME
      com pany an                 meetings. I wanted a language that spoke to the people,
 opportunity to move              while incorporating elements from “high” art such as form
                                  and structure, modern and ballet. —Mentee/Zari Le’on
big an d fee l like more
   of a profession al
   dan ce com pany.

7. Mentee only - Was the cost-free studio time important to the

Being given a guaranteed free space in which to work for an extended
period of time was an enormous boon to the mentees. As would be the
case for most new or emerging choreographers, the mentees can only
afford to use space sparingly, usually for making new work or preparing
for seasons. It was clear from the responses that the interaction with a
mentor over time, with analysis of existing work and experimenting with
new movement, could not have been possible for these mentees without
the availability of paid space.

    Yes! I can’t say how important. The year before CHIME, we were working in a very
    small studio, and being in the lab created such a sense of space and possibility. Free
    studio time anywhere is great, but the lab was really conducive to the work we were
    doing. It was easy to schedule time there. The floor is amazing. It is quiet, with no other
    people tromping through. And of course it is huge. —Mentee/Erin Stuart

    Rehearsing at the Dance Lab gave my company an opportunity to move big and feel
    more a professional dance company. Having a home base to rehearse gave my company
    a sense of confidence. —Mentee/Alma Esperanza Cunningham

We would usually have 3 mini rehearsals going on at once. This was a treat to be able to
multi-task and have a few separate things going on in one rehearsal space. I think the
rehearsal space is a HUGE part of the CHIME grant, a huge weight off of the shoulders
of choreographers scrambling to figure out where the next rehearsal will be.
—Mentee/Erika Shuch

YES YES YES. I would never have undertaken my project (revisiting an evening-length
piece absent a performance deadline) without this specific kind of support. I believe I
learned things about going deeper into my own process that would not have emerged if I
had focused on making something new. Newness can support fantasy and projection
and other gratifications that painfully fell away from my rehearsals this year. What we
had left was the work. It became clear to me who was there for that, and who came in
the door for other reasons. —Mentee/Nina Haft

Cost-free studio time ROCKS and supports the CHIME mission of process oriented
development. This is so important as renting studio space is often time consuming,
stressful, and expensive. —Mentee/Jodi Lomask

Absolutely, it was one of the most valuable
                                                   I think the rehe ars al s pace
things of the mentorship. I just want to             is a HUGE part o f the
mention that the year before CHIME I                  CHI ME g rant, a huge
expended $4,000 in rehearsal space.
—Mentee/Jose Navarrete
                                                    weight off of the shoulde rs
                                                         of chore ographe rs
                                                     scram bling to figu re out
Having a key to the studio created a feeling         where the next rehe arsal
that the space was personal. Outside of calling               will be.
to reserve space, I did not have to worry about
“checking in” with someone at the space in order to facilitate my rehearsals. That
experience felt very empowering. During the course of my mentorship, the space was
neutral territory. It is a different experience then meeting outside of creative space
because the studio space was creative space that was neither mine nor Rhodessa
(Jones)’s. This created a feeling of neutrality that served my goals very well especially
towards the end of our meetings as I was gearing my company to perform.
—Mentee/Zari Le’on

8. Did you find the quarterly CHIME gatherings useful? Is there
   another format, or are there changes which can be made in these
   gatherings, that you think would better serve the program and the
   second-year CHIME artists?

The participants approached CHIME, its activities and requirements,
with a remarkably consistent seriousness of intent. “It was amazing to
see this happen,” remarked Margaret Jenkins. “We thought perhaps the
schedule of meetings we had arranged would feel too frequent or the
meetings themselves might be too long. Lo and behold, the opposite was
true. There is a hunger for these sorts of gatherings, people wanted more
meetings, longer meetings, and different combinations of attendees.”

   I found a deep satisfaction in the CHIME meetings, sitting around the table with other
   artists and for once hearing their artistic concerns rather than their financial/survival
   concerns. It made me feel more responsible to them as my fellow travelers in this field
   of dance. I am more compelled to see their work and keep up the dialogue now that it
   has begun. This is often a field where individual choreographers become isolated and
   hunker down in their corners and a program like this lifts the veil of fear and weariness
   and asks us to look at the important art that we’re making…. I think it was encouraging
   for all of us to sit down together and be taken seriously as artists/thinkers.
   —Mentor/Joe Goode

                                                             Brillian t - getting
   I loved these meetings. They provided a stream of       away fro m the sound
   questions for me about longevity, aesthetics,
   dancer relations and risk-taking that I know will        bites that generally
   stay with me for many years to come. It was also       shape ou r im pressions
   great to hear about others’ experiences, including      of our co lleag ues was
   Margy (Jenkins)’s. Somehow this clarified my own
   experiences as a mentee. —Mentee/Nina Haft             immensely worthwhile.

   How rare it is to have so many movers and shakers in the same discussion! It was an
   honor to be there. —Mentee/Jodi Lomask

   I found myself looking forward to the discussions with the other mentors and mentees.
   Aside from the professional insights the personal commitment of each of the artist in the
   room to their work, the lives they have chosen, their dancers, and the commitment self-

 improvement was extremely heartening…. Brilliant - getting away from the sound bites
 that generally shape our impressions of our colleagues was immensely worthwhile. I
 think we are all so used to the inarticulate shaping of ideas that happen as part of post-
 performance discussions, qualified feedback sessions and just the plain lack of honest
 discussion around what we do and how we feel about it, that these sessions were a
 welcomed change. As the program developed, the exchanges and comments became
 more and more open and pointed. The only change I would make to this would be to
 extend in some way the length of these meetings by 30-60 minutes. —Mentor/Robert

 I found the gatherings extremely useful. I LOVED getting a sense of the other
                               relationship being formed and also to be able to hear
I love d he aring abou t       what the other artists were individually working
 how diffe rent peo ple        through. —Mentee/Erika Shuch
cope with the proble ms
we all face, and to see
                                  I felt that I got to know a little more about the way
   where it was 10                nine other choreographers were thinking about work,
 differe nt people with           and the questions they were asking themselves about
10 differen t thoughts,           process. This had a strong effect of validation to the
                                  questions I am presently posing to myself.
and whe re some issues            —Mentor/Nancy Karp
 were mo re divi ded by
                                It was challenging for me to sit and stay present for
 three hours of talking. I would….suggest viewing one another’s work samples at the
 first meeting as a way to know one another creatively. Because I was/am not deeply
 involved in the San Francisco dance community I would have found this especially
 useful both to know the other CHIME recipients and to be known. —Mentee/Lesley

 I found the gatherings a giant bonus of the program. I got to sit in a circle of fellow
 mentors that included Anna (Halprin) and Margy (Jenkins) and Brenda (Way) and
 Rhodessa (Jones) and Sara (Shelton Mann), all of whom I would be honored to be
 mentored by myself. I left each of those meetings challenged, inspired and rejuvenated.
 —Mentor/Jess Curtis

 I would suggest a facilitator that sets an agenda, a time frame kept and, at the end of
 each meeting, receive feed-back in which the feedback would shape the next meeting.
 These are important and rare times to be together and need to be made the very most of.
 —Mentor/Anna Halprin

 Would like a more focused intellectual component in at least one of the sessions. For
 example, read something and discuss it. Or perhaps all see one particular performance
 together and discuss it. —Mentor/Brenda Way

                                          I found the g atherings a gi ant bonus of
 It was great to know what other
 choreographers were experiencing or    the prog ram. I got to sit in a ci rcle of
 thinking about dance or how were          fellow mento rs that in clude d Anna
 the working dynamics of other          and M argy an d B renda an d Rhodess a
 mentors and mentees. I might
 suggest we should see how other            and Sara, all of whom I would be
 mentor or a mentee work together,        honore d to be mento re d by myself. I
 by observing some rehearsals. Also      left each of those mee tings challenged,
 it will be a good idea to meet in
 outside the studio. Like going the             inspire d and re juven ate d.
 beach or the woods and see how our
 relationships change with place. —Mentee/Jose Navarrete

 I found the CHIME quarterly meetings extremely useful and inspiring. I wish there had
 been more meetings, though I realize that it is difficult to commit to and arrange. In the
 first meeting we took time to separate into mentor and mentee circles, and I found this
 to be helpful. It would be good to take a short part of every meeting for that kind of
 interaction. —Mentee/Kathleen Hermesdorf

                                           The CHIME gatherings were like an artistic
 It was g re at to know what               intensive for me. I was refreshed renewed and
  other chore ographe rs we re             informed all over again about a particular
  experien cing o r thinking               artistic passion. Listening and being heard in
                                           the circle of my peers was enlightening,
abou t dan ce o r how we re the            inspirational, and still educational. I was made
 working dynamics of other                 aware of my own creative isolation. The
    mentors an d men tees                  gatherings fed me as artmaker, activist and
                                           social scientist. —Mentor/Rhodessa Jones

9. Please describe your observations on the public CHIME LIVE!
   showing. Ultimately, did this showing inform your work?

Advertised CHIME LIVE! showings for each artist pair offered the
possibility of challenging exchanges between mentor and mentee about
what it means to show work, what one does with an hour of the public’s
time, how to edit, and to clarify what’s most important about the
circumstance. The artists used these opportunities in different ways and
found value in both the presentation’s planning and execution.

   This mentorship exchange was a perfect time for (Erin Stuart’s) needs and growth as she
   was already a thinker and really needed to just address the development of ideas in her
   work. At the show and tell with the public, I was surprised to hear from outsiders who
   were familiar with (Erin’s) work say that her new work is so much more focused and was
   particularly evident at the showing with the one section of her new dance that she
   allowed time for the work to exist using only one simple idea and so beautifully….
   —Mentor/June Watanabe

   I was pleased with how the event went. The audience (both dance community people
   and some general public, as it turned out) asked thoughtful questions, and their
   observations were insightful. It was very helpful for me in the process of creating the
   piece. And I think that bringing audiences into the process strengthens their connection
   to the work. —Mentee/Erin Stuart

   For the CHIME LIVE! event, Joe (Goode) and I decided to each choose a section of
   each other’s work to present. We also had a brief discussion with the audience about
   mentorship and spoke about why we chose the sections of work that we did. I think this
   event could have been more informative if Joe and I decided what we wanted to learn or
   experiment with through the showing. —Mentee/Erika Shuch

   This showing was very important as I was playing with the idea of stripping the work by
   taking away the music since the work was about purity of form and complex movement
   ideas and not narrative or expressive. I needed to see in what ways the music I had been
   using influenced the viewer. Ultimately I was able to observe that the music created a
   strong narrative and that the movement/choreography could stand on it's own. It was
   extremely beneficial for me to have the opportunity to articulate my creative intentions
   and get feedback from the viewers. —Mentee/Alma Esperanza Cunningham

Since Alma (Esperanza Cunningham)’s work was about the length of our entire CHIME
showing she had to make edits for the showing, which could illustrate the core of the
work in a condensed fashion. The work is highly structured and non-literal/abstract. I
did not think that the choices she made for the showing were the best. I did not believe
that the work was well represented by her choices in that instance. However what
became clearer to me were the things she valued in the work and the fact I believe she is
moving into new territory she may not recognize at this point. Secondly there was a
question that was posed by one of the audience members, on which Alma and I could
not come to agreement. There should be only so much common ground between any
two artists and the fact we could not come to agreement says to me in some ways or
working together on the CHIME was successful because she was not bullied or swayed
unduly by my opinion. —Mentor/Robert Moses

It really did (inform my work). I enjoyed a lively discussion with audience members,
who asked some really challenging questions of me and the work. It also provided me
with an informal yet serious forum in which to engage
potential funders, critics, scholars and other interested        I now have a
community members about my work. I now have a wider
circle of interest for the premiere of my work. I attended      wider ci rcle of
three of the other CHIME LIVE! Events and really enjoyed       interest for the
the diversity of approach each pair took to the events.        pre miere of my
—Mentee/Nina Haft

It was satisfying to finally be seen by my peers as well as by all of the mentors. It was
amazing to have feedback immediately after performing and I am thrilled that it was
recorded. I will watch the DVD in order to analyze my piece and to review the feedback.
The video will also allow Anna (Halprin) and I to review the evening together and go
over things she was unable to hear. —Mentee/Lesley Ehrenfeld

I really liked our CHIME LIVE! program. Interesting conversation, constructive
responses and insightful feedback. Dancers loved it too. Having a moment to show
publicly meant pulling thoughts together. A good thing. Much of the value came from
other mentor/mentees presence. —Mentor/Brenda Way

The showing that Ledoh and I did definitely informed my work. I saw clearly my
influence on him and his performer…. I thoroughly enjoyed all of the CHIME LIVE!
showings. They pointed out the diversity of people and how they work. Each pair was
so interesting to me. —Mentor/Sara Shelton Mann

   I had an amazing experience in the CHIME LIVE! showing. I was in awe of those in
   attendance, surrounded by mentors, peers and students. I felt good about the work
   being shown and gained much insight into how it communicates via the audience
   response. Brenda (Way) was an incredible guide through the discussion and I feel her
   skills at focusing their memories and inquiries was an extra bonus. —Mentee/Kathleen

   I loved having the elders of dance present for the performance. Since CHIME LIVE!
   happened at the end of my process, I used it as a preview for the performance, so it
   informed my confidence level when I went into the theater the following week.
   —Mentee/Zari Le’on

10.   How can CHIME be improved in future rounds? Please be as
   specific as possible.

Many helpful suggestions were offered by the CHIME participants.
Improvements to the existing program and answers to the follow question
(11) about the future of CHIME merged together in some cases.
Generally, to a huge extent, their comments validated CHIME’s primary
goals, its activities and its methods to reach those goals. Enthusiastic,
earnest comments indicate the artists’ connection to and sense of
ownership of the program.

   This program is hitting a nerve within an impoverished community. It is not easy to go
   from isolation and poverty-consciousness to trust and intimacy…. I didn’t expect to
   eventually find such a wealth of warmth, generosity, and support – this took time to
   achieve. If there could be some trust building exercises during the first quarterly meeting
   so that the choreographers don’t need to jump into such a public, high-pressure
   relationship without any real history to support it - that would be good. —Mentee/Jodi

   It would be really beneficial to have a forum where a larger number of choreographers
   could come together to discuss work/choreography. Perhaps this is a guided discussion
   or within the context of informal showings. It would be good to expand beyond the
   private meetings between the mentor and mentee. —Mentor/Joanna Haigood

   Appreciated the freedom each team had to develop their own format, but a little
   guidance might have helped re: some concrete items that might be covered re:
   “choreography” – again so many of the discussions seemed to be about the relationship
   and interaction, which is good and needed, to a degree. —Mentor/June Watanabe

   Three suggestions for strengthening. 1. Make the meetings a monthly gathering with only
   the quarterly meetings mandatory. 2. A method of interface between CHIME
   participants of previous years in order to broaden the scope of possible support and
   reference both during and after the program. 3. Lengthen the program so that it overlaps
   the previous and upcoming years. —Mentor/Robert Moses

                                     More small group contact. —Mentee/Erika Shuch
   This prog ram is
hitting a nerve within
   an im pove rishe d
                                    We spent much time talking about our relationships
      community.                    (mentor-mentee), what was and what was not working,
                                    anecdotes, the field and the challenges we face. I think it
   would be useful to dedicate part of the session or one complete session to issues that
   relate to making choreography. Artists can bring their own observations, questions or
   challenges to the discussion – I think that would be fantastic with so many interesting
   minds in the mix. I also think that it would be nice to meet sometimes in a more
   informal setting, like a living room. —Mentor/Joanna Haigood

   Clarify issues of how to track use of time; journal was a burden, wished there was more
   guidance about how the mentorship should proceed. —Mentee/Erin Stuart

   Make the camera a little less present. —Mentor/Nancy Karp

   I would have liked to take turns showing work to each other at the meetings followed by
   a discussion with each other. This could ground our shared conversations in our work,
   and might facilitate ongoing exchanges between all of us beyond our CHIME year. My
   best intentions were to visit others’ rehearsals, but I was so busy, as I think we all
   were…. A list of questions or topics for new participants to think about might help keep
   difficult channels of communication open. —Mentee/Nina Haft

     The only improvement I could imagine (which is impossible) is to have it be a longer
     program (18 months). I felt we were just beginning to “cook” and the year was up.
     —Mentor/Nancy Karp

     Viewing one another’s work samples at the beginning of the year. Less focus on writing
     as a means of “reporting in.” Encouraging non-formal time amongst the mentees.
     (perhaps requiring one outing / meeting outside the CHIME format to be determined
     by the group). —Mentee/Lesley Ehrenfeld

     I like the idea that each mentor visits each participant artist for one rehearsal over the
     course of the year. Try to bundle CHIME LIVE! if possible so that we see two at a
     time. Scheduling is such a difficult thing. —Mentor/Brenda Way

I like the ide a that
                             I would like to see more mix of dance styles during the matching
 each mento r visits         process. I would like to see a traditional mentor collaborating
  each parti cipant          with a contemporary dance mentee. What I mean by that is to
    artist fo r one          bring traditional dances from around the world to inform the
                             contemporary dance vernacular and perhaps influence its
 rehe ars al ove r the       transformation. —Mentee/Jose Navarrete
 cou rse of the ye ar.

     A two-year mentorship would be invaluable in defining mentoring in the area of
     artmaking/choreography. —Mentor/Rhodessa Jones

     CHIME can be improved by making certain participation mandatory, such as CHIME
     LIVE! performances, colleague’s performances, viewing each other’s previous work.
     More interaction and critical feedback between different mentor/mentee participants.
     —Mentee/Zari Le’on

11.   What are your hopes for CHIME as a program? If CHIME were to
  find supplemental funding to expand its operations and/or its
  direction, how could you see this best happening?

Most participants sought a way to extend their own participation in
CHIME as well as hoping that more artists could experience CHIME in
the future. The comments mostly focused on the need for more time to go
deeper into the beneficial explorations already begun.

  It would be wonderful if you could award more grants, an obvious answer. I think
  sponsoring more gatherings where choreographers can get together informally and look
  and respond to work would be good. —Mentor/Joanna Haigood

  I’d like to see the mentorship last 2 years. Or perhaps there could be an option to extend
  to 2 years after the initial 1-year commitment. A year was definitely a good amount of
  time to make some real process, but it feels like there is much more that could be done.
  So many people in our community could benefit from mentoring and/or being
  mentored, that I think as many people as possible should be able to participate. I wonder
  if it would be useful to have different grant levels, so there could be 6 month
  mentorships, as well as those that would last one or two years, or longer. I think the
  program could also reach beyond the pairs who receive the grants to do even more to
  foster discussion of work in the entire community. Even the application process gets
  people talking and thinking about things, and maybe some other activities around that
  could extend it further. Panel discussions? —Mentee/Erin Stuart

  A year is not a very long time to begin to find a language      I’d like to see the
  between artists. If the scope and the timeframe were to be       mentors hip last
  expanded I think it would be useful for the participants.           two years.
  —Mentor/Joe Goode

  I think a two-year mentorship would be great. —Mentee/Jodi Lomask

 There should be monthly meetings with participants compensated for their time. (maybe
 each mentee and mentor gets an additional stipend and they are obligated to attend
 monthly meetings?) I can’t believe I am suggesting this because I know we are all SO
 busy. But CHIME is really a special opportunity to dive into our questions in such a
 wonderful atmosphere, with intelligent folks who have parallel goals. I want to be able
 to take FULL advantage of the year, and be forced to make more space for it in my life.
 —Mentee/Erika Shuch

 Cross-discipline mentorship could be exciting and innovative. The dance community
 might benefit from an influx of creative thinking outside of itself. —Mentee/Lesley

 I think CHIME could be in a position to encourage dialog and theoretical examination
 of dance practices and values in the community. Perhaps a CHIME library? There is a
 lot of writing going on about Contemporary dance that is not being read by San
                                        Francisco dancers or Choreographers. Maybe a
    I hope that C HIME                  video library of contemporary work? I would
     continues an d goes                personally love some mid-career mentoring on
                                        how to get my company more financially viable.
  statewi de an d n ation al,           How to stabilize my corporate infrastructure.
   while maintaining it’s               Some brass tacks discussions on how people are
beacon in S an Fran cisco. marketing their work, both at home and to sell
                                        tours. Some political wisdom on how to survive
 I think it would bene fit              this century’s cultural/political climate. Some
      any community to                  insights on how people on the road ahead of me
integrate this fo rmat, and made it to where they are in order to determine if
                                        any of those options are still possible and or
   it cle arly benefits any             available to me. —Mentor/Jess Curtis
    parti cipating artist.

 More people, less money on each couple. I know it’s not about product in the first year,
 but perhaps there is a second round that takes these projects forward. Or that creates a
 video sales tool (like a backers audition tape) so the choreographers can try to find a
 presenter or commissioner for the project. —Mentor/Brenda Way

 I also think opening up the collaborations to more diverse artists will create curiosity and
 crossing over of audiences more. The more we can understand each other the happier
 we will be. —Mentor/Sara Shelton Mann

  I would like to see if there is a time for mentors to work with other mentees, once or
  twice during the year. I think that will allow mentees to have more varied views about
  choreography and be expose to different creative processes. —Mentee/Jose Navarrete

  I hope that CHIME continues and goes statewide and national, while maintaining it’s
  beacon in San Francisco. I think it would benefit any community to integrate this format,
  and it clearly benefits any participating artist. —Mentee/Kathleen Hermesdorf

                               I hope that CHIME as a program takes root deeply in the
 I hope that we, the           San Francisco dance community. CHIME is already a
  mentors , comprise           resource for young choreographers. I hope that we, the
 CHI ME’s alum ni              mentors, comprise CHIME’s alumni and will be called
                               upon to assist however in the future. I foresee a festival of
  and will be calle d          works created under the auspices of CHIME. I think it
    upon to assist             would be interesting and definitely a way to generate new
   howeve r in the             audiences and more cash flow. —Mentor/Rhodessa

12.   Is there anything that we have not asked that you would like to
  tell us about your mentorship experience?

The vast majority of the artists used this question as a means of
expressing their appreciation to Margaret Jenkins and the MJDC for
developing the CHIME program.

  Thank you for creating a vehicle to share ideas, constructively critique work and laugh a
  bit. It has had a tremendous impact on my relationship to the dance community, and
  has given me new energy and confidence with new processes I’m incorporating in
  rehearsal as I develop new work for our upcoming season. —Mentor/Nancy Karp

  I really appreciated this opportunity. It has been an extremely respectful process with
  many rewards. I hope that this program can grow to reach as many dance artists as
  possible and that it continues to be successful. —Mentor/Joanna Haigood

I love CHIME. It is a necessary program if we want to make good art and not just a
quantity of art. If we want the Bay Area to be a real cosmopolitan center with interesting
and mature local arts and not only renegade experimentation, we need more support
programs like this which nurture the form and offer resources for creative development.
—Mentee/Jodi Lomask

Thank you for a truly rewarding experience. —Mentor/Robert Moses

                                                             CHI ME has made me
CHIME has made me feel that modern dance, and                feel that m ode rn dance,
making dances is important and that my artistic
development matters. That has given me fuel to take           and making dan ces is
larger risks.         —Mentee/Alma Esperanza                 impo rtan t and that my
Cunningham                                                     artistic deve lopment
                                                                      matte rs.
Thanks so very very much - it was truly a very insightful, revealing opportunity for all of
us. —Mentor/June Watanabe

Thank you. Thank you. Thank you. This past year has been so rich, so fulfilling, so full,
so great. I am thankful. I am sad it’s over. —Mentee/Erika Shuch

I would just like to say “Thank You,” to the program, the funders, and especially to
Margy and the MJDC staff, all the other Mentors and Mentees, and everyone that made
CHIME possible. Keep up the good work. —Mentor/Jess Curtis

I want to take this opportunity to thank you for including me in your program. It was an
honor and a very positive experience. I hope that the program will find the necessary
funding so that it will continue to serve the dance community and next generation.
—Mentor/Anna Halprin

Ms. Jenkins was key to the program’s effectiveness. She is always interesting and
insightful, an honoring person. —Mentor/Brenda Way

It was not what I expected and I was continually surprised at what commitment can
create. The life of another person is an enigma and the opportunity to get to know
someone and interact through a dialogue that you care about is a rare and beautiful thing.
THANK YOU. —Mentor/Sara Shelton Mann

 The idea of working without having to finish is                It was n ot what I
phenomenal and opening…. If you ever need an                   expecte d an d I w as
advocate, please let me know. —Mentee/Kathleen              continu ally su rprise d at
                                                             what com mitment can
                                                               cre ate. The life of
My CHIME experience was about living, accepting
                                                              anothe r pe rson is an
and nurturing the choices that I make. No choice is               enigma and the
“bad” because all decisions enhance the total picture.        opportunity to ge t to
During this process, I underwent a huge
transformation as an artist and as a person, and my
                                                               know someone an d
confidence grew by leaps and bounds. In the                     interact through a
interactions with fellow CHIME members, I have               dialo gue that you care
found that I am able to connect in an amazing way
with the mentees from previous CHIME years. There
                                                              abou t is a rare an d
seems to be a CHIME network growing that will be                 beau tiful thing.
quite special…. —Mentee/Zari Le’on                               THANK YOU.

I thank you for giving me a push off the plank into a larger sea of community. I share a
sense of kinship with my fellow CHIME mentees and feel we will support one another’s
work in the years to come. —Mentee/Ledoh


The MJDC concurs with the findings derived from the artists’ experiences
during the two years of activities. Parallel to the participating artists’
observations about the success of CHIME’s first year, artistic director
Margaret Jenkins felt that, though there were many unknowns, and
many decisions to make along the way, the program proceeded smoothly
and successfully.

“The time flew by,” exclaimed Ms. Jenkins. “We moved through the two
years in such a lively and provocative way, making headway on all fronts
toward achieving CHIME’s many objectives. We could have only
imagined that the choreographers would click with one another so well,
that they would be so enlivened by it all, not only about their own
invention but about the concerns and breakthroughs of their colleagues.”

Ms. Jenkins was particularly gratified by the involvement of the mentors,
who she perceived as being positively challenged and invigorated by their
role in the CHIME process and activities. “After decades of work, it’s
good for a choreographer to know that someone considers your
achievements important in this professional yet very personal way. From
receiving the grant to showing work – they felt appreciated for their skills,
their body of work, for what they have to pass along to others.”

                    THE FUTURE OF CHIME

         CHIME’s purposes have been served so well in the first year that we
         proceed from a strong base for future success. We will pursue some of the
         artists’ suggestions, which pertain to an extended period of working
         together and more frequent gatherings. In addition, it is of interest to me
         to investigate the expansion of the program across state boundaries and
         disciplines. – Margaret Jenkins

Artists involved in the program offered possible new avenues for research
in making CHIME a more interesting or effective program in the future.

Ms. Jenkins’ analysis of CHIME brought additional suggestions for new
directions for the launch of the program after the pilot phase. Such
variables might include: extended durations of mentor-mentee
relationships beyond one year, altering the number, duration and focus
of various public meetings and CHIME LIVE! Events, mentorship
relationships with participants outside the Bay Area, international
mentorship components, and mentorship across different styles of dance,
among other suggestions.

In conclusion, a sense of the need for mentorship in the profession of
dance-making, followed by a careful planning process with involvement
of a broad section of the choreographic community, yielded CHIME.
CHIME has been an unqualified success. The MJDC intends to use the
experiences of both years’ participants to fashion the official CHIME
program, to be launched in 2006-2007. The goals upon which the
success of the pilot years was built will no doubt remain central to its
mission: improving choreography through the exchange of information
across generations, re-granting of support to artists in the form of fees
and paid work space so artists can feel freer to experiment in this new
atmosphere of trust, and creating a place where choreography is
discussed, critiqued - valued - on its path from conception to

     F U N D I N G S O U RC E S, S T A F F, B OA R D O F

                             FUNDING SOURCES

The MJDC is funded by Dance: Creation to Performance, a program funded by The James
Irvine Foundation and administered by Dance/USA, The Fleishhacker Foundation, The
Wallace Alexander Gerbode Foundation, Grants for the Arts/San Francisco Hotel Tax
Fund, The Hellman Family Foundation, The William and Flora Hewlett Foundation, The
James Irvine Foundation, The LEF Foundation, The Andrew W. Mellon Foundation,
The National Endowment for the Arts, The Barbro Osher Pro Suecia Foundation, The
Bernard Osher Foundation, The San Francisco Arts Commission, The San Francisco
Foundation, The Phyllis C. Wattis Foundation and generous individuals.

The James Irvine Foundation:
The James Irvine Foundation is a private, nonprofit grantmaking foundation dedicated
to expanding opportunity for the people of California to participate in a vibrant,
inclusive, and successful society. The Foundation was established in 1937 by James
Irvine, the California pioneer whose 110,000-acre ranch in Southern California was
among the largest privately owned land holdings in the state. With assets of $1.2 billion,
the Foundation expects to make grants of $56 million in 2004 for the people of
California. For more information about the Foundation, please visit

                                       S TAFF

Margaret Jenkins, Artistic Director
Todd Eckert, Operations Administrator
Sheila Shah, Administrative Assistant/CHIME Coordinator
Wayne Hazzard, Project Coordinator 2004-2005
Art Becofsky, Executive Consultant/Advisor to CHIME

                       B OARD OF DIREC TORS

Marcia Hofer
Margaret Jenkins
Mindy Kershner
Rhys Mason
Michael Palmer
Albert Wax

                                 CON TA CT

Margaret Jenkins Dance Company
3973A 25th Street
San Francisco, CA 94114
415.826.8399 (phone)
415.826.8392 (fax)

Margaret Jenkins Dance Lab
301 8th Street #200
San Francisco, CA 94103


Guidelines and application form for the second year of CHIME’s pilot
   project, July 1, 2005 - June 30, 2006

2004-2005 CHIME Awards Press Release

2004-2005 CHIME Artist Biographies

2005-2006 CHIME Awards Press Release

2005-2006 CHIME Artist Biographies


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