Rockhopper's 'Side' project supports local choreographers

Over the next two weekends Rockhopper Dance collective will present a mixed bill of new work from a variety of Seattle choreographers. Rockhopper, a producing organization composed of six dancers, has been orchestrating On the Side performances for the past five years to showcase the vast range of the local modern-dance scene.

Founding member Jenny Gerber explains that despite the thriving dance community in Seattle, there aren't many ongoing venues that pay choreographers for their work. After forming the collective in 1997, Gerber says, Rockhopper decided to ameliorate this situation. "Instead of sitting around complaining," she says, "we thought we'd start something ourselves." On the Side was born two years after the collective came together.

Every year, Rockhopper (which creates and produces its own work on a separate agenda) solicits applications for On the Side and chooses six or seven short pieces, with an eye toward diversity. Camin Bell, another founding member of Rockhopper, emphasizes that the program is an eclectic mix. "The variety is what makes it a great show," she says. "You get to see so many different perspectives on modern dance."

This year's On the Side offerings include a piece from BetterBiscuitDance in which women commit the ultimate no-no (running with scissors); Rachel Bisagni's club dancers who merge with modern choreography; and a reprise of Amie Baca's tribute to cheerleading and the band Queen (which was met with wild applause when it premiered at a show called Buttrock Suites in March 2003). Seattle dance staple Wade Madsen will also contribute a new solo set to the music of Thelonius Monk.

Rockhopper takes care of ticket sales, publicity and so on, with the intention of allowing the dancers to focus fully on the art. Selected choreographers are paid on a sliding scale, depending on the number of performers in their pieces. "Each year we've increased the fees we're able to pay artists," notes Gerber, "but it's still nowhere near what they're worth."

The amounts awarded this year are the largest to date, thanks in part to a grant from the City of Seattle Office of Arts & Cultural Affairs. "The grant means we can do things we haven't been able to before," says Gerber, "Like have our posters designed, do some advertising, and hire a professional videographer."

In the course of producing this regular event, Rockhopper has earned a reputation as a stepping stone for local choreographers.

"On the Side has served as a springboard for festivals like Northwest New Works," Bell says. She explains that when Rockhopper produces a short piece, artists have a better chance of being approached by larger venues like On the Boards. "It's a way to get their foot in the door," she says.

Brangien Davis: brangiendavis@yahoo.com