The Mr and Mrs Gerald Frank New Churchill Fellowship to research the unique creative process and relationship between a choreographer and their composer

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The Mr and Mrs Gerald Frank New Churchill Fellowship to research the unique creative process and relationship between a choreographer and their composer featured image
Christopher travelled during 2019 to meet with leading global creative voices within the professional dance community to investigate the unique creative process between choreographer and composer when creating new work for leading global ballet companies. His journey took him to New York City, Montreal, Toronto, London, Amsterdam, Antwerp, Brussels, Berlin, Tel Aviv, Jakarta, and Singapore where he met with leading choreographers, artistic directors, and composers, many of whom he was fortunate to have engaged with during his 18-year international performing career. He found that there is a great interest in the development of new dance work with newly commissioned scores. Many artistic directors focus on discovering and developing new creative voices through bespoke programming that pairs creative voices in the theme of discovering and developing new work; these programs give platforms to dancers within companies to explore and develop their unique choreographic vocabulary and style. Many artistic directors believe that such programs add richly to the performing arts, and that providing opportunities to emerging voices to secure the future of our art forms is vital to the furtherance of the performing arts at the local, national, and international level. Rooted in the not-for-profit sector, many of the world’s leading dance companies opened their doors and welcomed me into their institutions to observe first-hand the creative process in action during rehearsals and performances by providing me with direct access to the globe-trotting choreographic masters of our generation. It was rare however to witness the collaborative process between composer and choreographer as this typically happens in the very early stages of a new work before the choreographer commences with the dancers. What this means, is that there is often little direct interaction between the composer and the dancers within the studio, and that scores are required to be written long in advance of the creative choreographic process due to the busy scheduling and programming demands within a professional ballet company. It is Christopher's belief that the creative process between choreographer and composer would greatly benefit from a truly collaborative in-studio process between choreographer, composer, dancers, and musicians. Although difficult to achieve due to budgetary and time constraints, such a process could result in new and interesting results or deeper artistic integration between all elements.

Fellow

Christopher Hill

Christopher Hill

WA
2018

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