 Welcome to On the Waterfront. I'm your host Mariah Riggs, Director of the Main Street Landing Performing Arts Center. And this month I am really excited to have my dear, wonderful, super awesome friend, Hannah Satterlake, who is here to talk to us about all the incredible work that she's been doing around Vermont for the last decade, what did I say? Four more, yeah. And if you're fortunate enough to have ever seen any of her work, lucky you. So Hannah, thank you so much for coming to the show. Thank you, my pleasure. So just to kind of start out so our audience can get to know you, let's talk about, did you grow up in Vermont? I did. I grew up in Eastmont Piliar, oh wow, center of the state and I've tried to leave but I always come back many, many times. I hear Vermont's like a yo-yo, everybody gets out but the beauty of that is we all go out and then we come back in and bring it with us. Yeah, for sure. All right, and it's nice, it all comes back to the show. So how did you, I've always wondered, how did you get started in dance out of Eastmont Piliar? I went to a dance performance with my mom and had tried some dance classes and felt really uncomfortable in that setting but then when I saw performance and felt it in my body I was like, I have to do that. So we slowly, incrementally experimented with classes and then I've always done movement experiences and a lot of music in my childhood as well and it was just always the thing that felt the most natural in terms of engaging with the world and meeting new people and best friends came out of dance classes way faster than academic classes and it just really felt like a home. So it was almost like a calling, like it was something that like embraced your soul and like, yeah, I was like, I want to do that and I was like, okay, we'll try again. Oh, I have a special purpose. Yeah, right. You know, that's a great thing. Oh, that's so wonderful because a lot of young people don't have that kind of experience and so that's a huge thing and so, you know, maybe also for some of our viewers who are interested in dance out of Vermont, how did you take it? I mean, because you're so accomplished now. So the question I think for some of our viewers who might be younger who love dances, how do you translate from going from a kid from Vermont, who feels it in their soul that it's their passion? How do they take it to the professional level? I would say follow the teacher or the company that really speaks to you because all art forms have so many options but dance especially and it's really about your relationship to your body's expression. So if you have an outlet from a teacher or a studio or a style, like there's a lot to train in but to stay focused with what's really like hitting with you and you feel like it relates to your own. What styles of dance related to you? I tried it all, did lyrical, hip hop, ballet, modern and it wasn't until like the end of my college that I met a woman from San Francisco who was flipping upside down and her musician was like putting us in a trance with his electronic beats and we were just like flying through space mostly from an improvisational form of language and poetry and layering these images that we could like manifest through our movement. Wow. Yeah. It was like if we can do this. So was it almost like dance improv? Yeah, she fused a lot of technique and like tricks and ways of like wowing the audience or bringing you know your physical skill to it but it really was about like this manifestation of energy. So it was almost like a visceral, kind of like a visceral response to the music and how it affected your body. Yeah. Yeah. It's like 10 a.m. in San Francisco where it's like a alternate universe. Highly recommend. Wow. That's pretty cool and that takes a lot of release too. There's something about releasing yourself sometimes too and you know as I talk to a lot of artists there's something that seems to be a recurring theme is that the highest levels of art are attained when you kind of have like done your nuts and bolts and you are able to actually release your soul into sort of like the lithosphere but use all those components to find your natural form. Yeah, totally. Yeah. Building blocks to then just let go and trust. And flow with it. Yeah. For sure. That's pretty cool. Now does this person have a name? Yeah. Kathleen Hermsdorf. Unfortunately she has passed but her legacy lives on in many dancers. That's interesting. So if you're interested in that make sure you go and check her out. Her name is? Kathleen Hermsdorf. Thank you, honey. So that's interesting and now this is a big jump. You studied all these types of dance and next thing we know you're in San Francisco. So you know maybe that's a big jump for did you go to school for dance before you ended up in San Francisco? Yeah, I went to undergrad and then I tried New York City and within six months I was like I gotta go. This is not the place. And I met Kathleen at a retreat center in Plainfield, Massachusetts and she said come to the West Coast. Work for me. Live with me. Train with me. Come to find out later. At her funeral she said this to like hundreds of dancers which was just her way of welcoming us in and saying like let's move, let's do this, let's like change the world. Which is a very also interesting I think component of dance and I've heard this, I have a dear friend who I've known for 30 years now and she got involved with like the Martha Graham school and stuff like that. And so there is kind of this sense in dancing too that when people get involved with it there's almost like there's a community there. Oh yeah, 100%. And in some ways I feel like it's more like that than almost any other art form. Maybe music like musicians have that but as a performance, as an art, it has this incredible community component to it. Yeah, because it's all energy so like words don't get in the way. It's almost hard at the end of a class to like talk to a stranger. But I'm making you talk for an entire half an hour. I know. So you went through school, you ended up in San Francisco, you found your kind of niche, you know what your interests were, how did you end up back in Vermont? I got really injured at a summer dance festival on the East Coast and I just felt like I cannot leave my community and my home and my roots. So I decided to stay and at the same time was offered a position in Montpelier to direct a studio and was like oh I don't want to like go back to home base. So I have had that same experience of being like it's not Vermont, I got to go two other times pretty drastically and always being pulled back. Yeah. Yeah. But sometimes that's good for the creative journey. Oh yeah. You know, as you pursue who you are as an artist, you know, the organic process sometimes leads you to other places because you have to find other wells to drink from and find your process. Yeah, I definitely feel like exploration whether it's in my home area or traveling is a creative practice for me. It's like how can I expand my visual sense like what am I taking in, how am I affected by space, by people, by temperature as like a way of researching how a human body goes through the world and experiences life. Wow that's so interesting. It's interesting because there's a casetic, I can't ever say that word, kinesthetic version of art with dance. That it's from a place of movement and understanding of the body which is so completely different than a lot of other types of art and you know especially being on TV sometimes I get very focused on how my body is perceived by others and as an art form dance is sort of the great reflection of that, right? Yeah. Everything about it like the tilt of your head can affect an entire like you know moment in like a dance and I mean that's got to be so hard to like fine tune your body for those sort of micro changes. Yeah, I mean it's all about the mirror neurons so when you're seeing a body move you're sensing it in your own system and that's why I think choreography is such a strange task like to choose a shape that you're going to practice over and over and keep and like have to bring the same meaning to it every show. So mixing improvisation with scores with story with choreography is kind of where I've landed because a shape can only do so much. Yeah so curiosity, how do you as a choreographer because you've obviously evolved into sort of more of a choreographical role which is what happens with dancers? Yeah. You know and so how do you blend sort of the improvisation with your choreography when you're designing dances? Well the past show that I just did at Main Street Landing called Tender Hearts was based on two years of interviews and so pulling out the audio and the stories and the sentences and even just like words and phrases and bringing those into the studio and having the dancers then write about it and improvise from their writing or using some of the interviews voices in the studio and watching them improvise and then extrapolating like what really I could feel when I was watching it happen. So it's kind of like giving them the why or myself in the studio the why and then watching what comes out of that just naturally authentically and then kind of like pulling out the pieces, yeah he's sleeping. That's Umi, that'll be a b-roll, that's my pug. And then when I'm in a solo choreographic process it's an annoying amount of documentation, videotaping and then scrolling through and what is interesting to see from an aesthetic point. So I mean that's really interesting so the process actually it seems like engages itself into the work and that the process actually is what, the process is part of how the work is actually created and engaged and it sounds highly collaborative for you compared to other that kind of like top down, hi of my dancers, this is how you're coming in, this is your stage left entrance, those kinds of more traditional types of dance choreography. Yeah, I've been lucky to be a dancer in people's processes that have that same depth like with Hannah Denison doing Dear Pina and doing the choreo project and like it's really coming from her understanding of a place or a story or a person and it's never rushed to be able to give it that creative process versus some of the like gigs I get for choreographing a musical or something like that where you have like an hour so you have to know the steps and the counts and the timing and then like it's over. That's interesting but you also do more traditional choreographical work as well. So most recently what kind of more traditional kind of musical choreography have you done? I hope, I can announce this while I'm helping the senior class of Rice Memorial with their stunt night, which is like this crazy tradition, you know. No, no, my brother went to Rice, I'm outing myself now. My brother went to Rice and my niece goes to Rice. Oh, what class is she? She's a junior. She'll be competing as she was telling me. High competition. Yeah, it's wild. I helped them last year too and it's just such a high spirited group. They're so positive and nice. It's wild. It really, I mean it's a really interesting thing and they, they do this thing at Thanksgiving and everybody participates. Oh yeah, the volunteer system is mind-blowing. It's kind of like a beautiful work of art. It's a very real thing. Yeah. So that's exciting. So that's kind of like a fun, kind of like low key and you're working with people who are not trained in dance too, which I'm sure is a whole. It actually probably makes it more fun. Yeah. And so I was trying to make it work for people who are not aware, don't know body awareness. Yeah, there's always the question at a Q&A like which came first, the music or the movement and sorry, shake your head, but for like a creative process that I would do in depth with a company, it's going to be the movement first and then we'll layer the music, but for like a musical or a teen company or something that's like, okay, let's choose a song, we know the counts, then we'll be able to like get it and hit it and feel successful. This is more traditional. I mean, that's just that more traditional dance, you know, that you can draw on from your background. Yeah. And it's not really like the contemporary art that you're making. I mean, that's, you know, it's very, it's very parallel to some of you might be more familiar with like the visual arts that, you know, you have your like traditional kind of sip and paint, you know, by the number or, you know, Bob Ross kind of painting, right, which everybody kind of has to learn to do. And then you kind of like go off and you end up with like a Picasso. And so that's somebody who knows the nuts and bolts, the basis, you know, the methodology of like what they're doing. And then taking it to that next level where it's the cerebral experience that really draws on the base of what really art is, which is, and especially I would, I prefer, I prefer art that's collaborative, maybe that's just, and I know it's a personal preference. It is. I do love atours too. Don't get me wrong. But I love it when the scope of work is an organic process with people working together because then it's something that's actually unique that could only happen with the people involved with the project. Absolutely. And I love that that's part of the work that you do. So I kind of wanted to get back to you into the Tender Hearts because that was such a wonderful piece. And I wanted to find out how did you decide you wanted to pursue a project like Tender Hearts? I feel like it kind of asked me to. There's that saying that, you know, when you feel like a creative project is in you, then it's your turn to do it because they've all been done, they'll be done again and again. But it's like, it's time for your interpretation. And it was a question really about relationships and connection and how people have found that to be possible with other people, with pets, with the world, with their rituals. I had this kind of film idea-ish and then COVID hit. So it turned into online interviews. And then the summer, when COVID was a little bit lifted, my film partner and I went and did a residency where we did live interviews and filmed them. So we have like over 170 hours of documentation and audio. And so of course we wrote the grants for how we're going to have to spend the time editing to make like an episodic series of people's experiences with relationships. And getting through a couple days worth of dailies and rushes is not easy. Yeah. So time consuming. And we were still grappling with like, well, what's the essence? Like what's important for me to interview? Is it to see someone in their home setting, like telling you a story of their life, or is it little nuggets that relate to each other? So we were denied all the grant funding and it was kind of like, oh, so maybe it's not film. So this person, Andreas John, he's really good at helping me just step back and wait and give it its own timing. And so we did that kind of three or four times like, yeah, but we're still interested in this and it's interesting to go and meet people. And then we gave it long enough of a break that I really felt I had to finish it. It just needed to be completed as like part of my psyche needed to just move on and also to share it. Yeah. To give it out. And to get some of that feedback, I mean also part of being an artist is you want to give what you've created to people and see their reaction and have that visceral interchange with them and how they participate with your art. Exactly. So I asked five dancers and they all said yes. And then one had to drop out unfortunately because of scheduling. So landed with four. And it was like the fastest, slowest rehearsal process. We started in January, finished in June and only met every week for two hours and just like dug through the possibilities and they let me collage it and re-collage it and re-order it and add new things and subtract and like we just kept kind of piece-mealing different arrangements of the material. And then finally, after like one of the worst experiences of like, ah, this is awful. We had a creative process, we were like, oh, maybe it's like this and then we were able to. That's the sign you're creating really good art. When you hate it. No, you have to, you have to go through that, right, you have to break through that barrier. The worst. Totally. It's a good sign. But it sucks. Yeah. It happens a lot. That's what I hear. So that's really, I mean, you know, and it finally came to fruition in June and how did you feel at the end of the process? Well, kind of like overstimulated but relieved. So it was a weird combination of opposite feelings. And I just continue to learn like how many hats can one person hold, director, producer, publicizer, you know, all the things. And like a week before, I thought maybe I would have to step in for a dancer. So I was just kind of like, can I do this ever again? Or is that like my last hurrah? Well, we hope you can do it again. Yeah, but it was like well-received in terms of people coming. And that's a big hurdle. Sometimes in a month. It is. And then the response is like really meeting my intention. Like people had emotional experiences and had physical like kind of sensation through it. And that's actually something I wanted to talk to you a little bit about because I know that's a big part of your process. Is getting people to like emote and feel and participate while they're experiencing the dance with their own emotional input. And so I kind of wanted to talk to you about what that means to you. Yeah, so I started a company and I call it Animal Dance. And it's not because we work with animals and we don't try to interpret animal movement. But it's asking how can we move and choose movement and be authentic to our own physical nature in a way and in a setting and in a story that the audience could watch us as if they're watching an animal. That the like need for what it's about or like getting it right as the viewer is stripped away and it's just like an open platform for somebody to observe and to sort of relax into that setting of like I'm gonna just take this in. Which again, you know, not to go back to this but great art is very objective. It's not literal. You know, it's not narrative. You know, there's a lot of kind of derivative narrative type stuff. Out there where spoon feed you sort of like this is what's happening and it's a story and blah, blah, blah. But real art is stuff that you go in and you might go in with three friends and you all walk out and it was a completely different thing for each and every one of you. And that's what makes it so compelling. And it also makes you want to revisit it because great art is the kind of thing is like wait, I was in this place. I just had this argument. You know, you're in this headspace. Whatever you were is how the art washes over you. That's so true. And that's something I feel when I see your work. And I think you're very gifted in that. It was interesting to hear that because I know that's something that really draws you to your work. What would you say? Were you looking for a particular reaction from Tender Hearts or did you just want... I think my most consistent sentence in grant writing was that we could understand that we're all connected. That that would just be like so clear and almost like when you realize something obvious. Like it's almost more satisfying because you're like, of course. I just was blind to this. So that kind of feeling of like I knew this thing could be true or was true at one point in my life but now I like feel it and understand it. I knew it in kindergarten. We all love each other. It's all great. Be nice in kindergarten. You know, kind of getting to those kind of you know, primordial emotions that are humanistic and loving. And art I think also is underrepresented in our society as a healing agent and a social balm that can bring people together and bridge divides no matter what they are in our society which is very needed now. Totally. Yeah, thank you. So I wanted to back again to animal dance. So if people are wondering how would someone get involved, find out more about animal dance and what you're doing. You can go to my website hannasatterley.com and click on contact and then sign up for the newsletter. Okay. And then check your spam because it will probably land there. And we're on Instagram as Animal Dance VT. That's very cool. Yeah. Now is there a particular background somebody needs to participate or is it pretty much open to everyone? It's a very wide range of offerings. So it's never just one thing and it's never the same. Okay. Kind of how I am. But like this morning I hosted a Gaga dance class which was open level with a guest artist. Okay. Okay. Sorry. You have to explain what a Gaga dance class is because I have no idea. Gaga is the training module that the Bacheva Dance Company uses, the Israeli company. Okay. And it's kind of what I was describing before. Here it's this improvisational form that has to do with layering imagery and kind of heating yourself up and feeling into the heat and then cooling down and then engaging with each other. Wow. So it's almost like beat groomed dance. No. Not at all. Not heating up, moving. Okay. Or just like how can you be arduous in a loving way. But that was this morning's class. You hear that body. Yeah. Love me way. Love me way. Is that at a Middlebury or Montpelier? That we just did at the North Star Community Hall. Oh, okay. Wonderful. Yeah. And it's from grant funding from Burlington City Arts to do this series of dance and discourse is what it's called. So it's either dancing or watching dance and then having another component of interaction with people in your class so we have a little luncheon at the end. Or for the showings that are coming up it'll be a feedback session using the critical response format. That's so exciting. Yeah. Because I do think that a big part of dance and especially in our community is getting out there and educating and making people aware how dance is going to move them or how it's going to affect them. And that in the same way they want to go see a band they need to go see dance because it creates a different effect in your psyche. And once you experience it you'll crave it and you'll want more experience with it. I think so. And so I do think that outreach and education is really vital. And so to kind of get back to that I wanted to talk, you started an organization called the Dance Alliance. Yes. Vermont Dance Alliance. And so just for some of us who might not know about that, since you started it I thought you could quickly address why you started it and just quickly what the work is in case anybody's interested. Yeah. So Vermont has a ton of talent and a ton of people offering unique things but we're all really spread out and often our own publicist and marketer. So it was a way to build a directory for us to find each other and also for the outside community to see events and classes that they could attend or come to. And it has passed leadership twice since I started it. And so now Megan Stearns is at the helm who is a fabulous dancer in person and she's doing a lot more I think with like the systems of it but it's really like trying to draw a spider web across the state and say like here we are again. There's a network. There's a network. Yeah. Because that is sort of a reoccurring theme too that I occur a lot. I mean I hear this a lot in Vermont is that somebody who is in Brattleboro might not know about the person in Middlebury. Yes. Things are so far apart and they're kind of in their regional hangers and they end up in these silos where they aren't able and especially with dance as a collaborative medium the more you're able to draw together and lift everybody up. Yes. Right? Yes. The better that all the pieces become. Right. Because of that. Yeah. And so a big thank you by the way to Hannah for starting the Dance Alliance because it really is important especially I think with dance specifically because dancers are also very sociable and you know it's a very collaborative thing. So when you're alone it can feel like you're really alone and you don't have those people to bounce ideas off or to engage in your craft with. Right. And maybe you are in those silos and you can't find your way out. So any dancer who's in a silo please check out the Dance Alliance and thank Hannah because she started it because she's amazing. Vermontdance.org bringing dance to life. And yeah and thank you so much for all that you've done for Vermont Dance. I mean before we head out I'd like to actually get your opinion. Where do you see dance going in Vermont? Where would you like to see it go? I think the goal is that there's more performance opportunities for the dancers here and that the adult training and kind of professional program that happens in different areas is more populated and more students are able to come. And then I would love to see a circuit of venues that it could be easy to host a guest artist in multiple cities teaching a Gaga class or something or if a company has a show it's a really easy network to just find your path on the circuit and be able to show different audiences. So we can talk about that. Efficiency. We can talk about that. Okay great. I love that idea. I think that's a great idea. And I do think too if you haven't been to see a dance, this is your homework, if you haven't been to see a dance in the last two years, actually no because of the pandemic, if you haven't been to see a dance in the last four years you really should go see one. Because it's a very different experiential experience. And it will transform sort of how maybe you see the world, how you see yourself, and also how you see the relationships in the world that you exist in. So that's your homework now. But really, so next steps. So you have animal dances. Are there any new projects on the horizon? Are you taking some time? After two years. This dance and discourse series is kind of the next like public event thing and then event series. And then in the spring I have some choreographic ideas that I am unfortunately waiting on grants to know if I should start or not. But hopefully it will be an affluent season and tons of dance will be created including some other collaborative projects with choreographers doing their own shows. That's exciting. Yeah, there's a lot. It's good. It's exciting. We're getting more dance in Vermont. We're so excited. And Hannah is a big part of that. Thank you so much for coming on the show and discussing what you do. It's been a real pleasure. Totally. Nice chatting. Yeah, make sure you check out Hannah's web page. If you have any questions, comments, or concerns, let her know. And try to get out there, see more dance. It'll change your life. And it is a bomb for the soul. So please check it out. Thank you guys so much for checking in with us this month. And I'll see you right back here next month. Take care. Bye.