Last week, I had the exciting opportunity to collaborate with Urbanity Dance, a renowned Boston-based contemporary dance troupe, in one of their innovative “test kitchens.” This invitation came shortly after Urbanity was honored as “2015 Best Dance Troupe” by Best of Boston, adding a layer of anticipation to the creative process.
My interest in composing for dance has been developing for quite some time. Fueled by years of attending captivating performances at venues like the Boston Opera House and Jacob’s Pillow, my enthusiasm was further ignited by becoming avid fans of So You Think You Can Dance alongside my wife, Beth, since season 2. As a composer, the allure of dance lies in the chance to partner with exceptional dancers and choreographers, and in the expansive artistic possibilities this medium offers. Similar to film, dance provides a platform where music assumes a prominent role. While I previously contributed to scores for a Prometheus Dance Company piece by John Kusiak and composed for a children’s musical, this experience with Urbanity Dance marked my first dedicated foray into composing specifically for dance in a contemporary setting.
Drawing from these past experiences and having witnessed Urbanity Dance perform earlier in the year, I envisioned a musical direction that blended acousto-electric elements with instrumental art-pop sensibilities. It was also crucial that the music featured predominantly consistent sections with clear rhythms and phrasing, readily adaptable for a short-term collaborative environment.
From the music I presented, director Betsi Graves chose “Between You and Your God/Grace” for choreography and rehearsal. This piece originated from an idea initially conceived for Touchdown Israel. It unfolds as a gentle, evolving groove with an ethnic-inspired, pastoral melody, finding a harmonious balance between acoustic and electronic textures. I further developed it with a laid-back, Zero 7-esque second section and a coda, weaving together ethnic strings and percussion with string quartet, electric bass, and sound design elements. Observing the piece take shape as the dancers absorbed Betsi’s choreography was truly inspiring. It mirrored the captivating process of an orchestra rehearsing a new composition, witnessing it come alive as musicians and conductor refine it through initial run-throughs.
The second piece, utilized during warm-ups, stemmed from ideas from The Way Home – Tibet in Exile, a film project I am currently developing and presenting in work-in-progress screenings with organizations like Women in Film & Video New England and the International Women’s Film Forum. This poignant film portrays a Tibetan family across three generations – grandmother, mother, and granddaughter – as they navigate preserving their culture in exile. The musical piece is structured around two alternating sections: one uplifting and serene, the other more somber and reflective of dissent.
Collaborating with Urbanity Dance proved to be an incredibly rewarding experience. Beyond their undeniable talent as a dance company, they are a group of genuinely compassionate individuals deeply committed to their community. Their work extends to impactful initiatives, including programs for Parkinson’s patients and outreach to underserved populations facing incarceration, homelessness, and abuse. Urbanity Dance‘s dedication and artistry are sure to resonate further within the Boston community and beyond as their reputation continues to flourish.
