JoAnna Mendl Shaw, the visionary founder of The Equus Projects, has dedicated over two decades to a unique and captivating art form: choreographing site-specific dances with horses. Established in 1999, her company brings together dancers and horses in rural and urban landscapes, pushing the boundaries of dance and interspecies communication. In this insightful interview, Shaw delves into the origins of her work, the principles behind her innovative approach, and the profound connections forged between humans and horses through movement.
Dance ICONS: What sparked your journey into creating dances with horses?
JoAnna Mendl Shaw: The inception of The Equus Projects dates back to 1998 when I received an invitation from the Dance Department at Mount Holyoke College. They were celebrating the 20th Anniversary of the Five College Dance Department and wanted a site-specific performance. Mount Holyoke boasted both a renowned dance program and a distinguished equestrian team. The idea of uniting dancers and horses on their beautiful campus immediately intrigued me.
During the creative process, I was struck by the dancers’ remarkable ability to intuitively connect with the horses. They seemed to naturally engage in a kinetic dialogue, adapting their movements to resonate with their equine partners. This observation led to the development of what I now call “Physical Listening,” a core principle in my interspecies choreography.
ICONS: Could you elaborate on Physical Listening and its significance in your work with Horses That Dance?
JMS: It’s important to understand that The Equus Projects doesn’t own horses. For each project, we collaborate with local equestrian communities and their horses. This necessitates a unique approach. We began developing Physical Listening within the dance studio, focusing on the skills required to move harmoniously with a horse – a powerful, 1200-pound animal governed by instinct and flight.
Physical Listening is essentially exploring movement through the lens of interspecies interaction. It involves shaping the space between bodies to negotiate dominance and submission, mirroring how horses interact within a herd. We cultivate a nuanced sense of touch and practice transitioning smoothly between assertiveness and gentleness.
Strategic thinking is also integral to Physical Listening. Each horse possesses a distinct personality, demanding different leadership styles. A curious, dominant horse requires a different approach than a submissive, fearful one. Physical Listening is a continuous process of observation and adaptation, constantly gauging how our movement impacts our equine partner. It’s about creating a truly responsive and respectful partnership.
ICONS: So, at the heart of your work with horses that dance is this fusion of sensory awareness and strategic thought?
JMS: Precisely. It’s about expressive movement interwoven with spatial intelligence, sensitivity to movement quality, controlled strength, and strategic decision-making – all happening simultaneously! The dancer is constantly sensing the horse, while also attending to the choreography’s intended path, making real-time adjustments to maintain that vital connection with the animal. This dynamic interplay is what makes working with horses that dance so compelling.
ICONS: What are some specific challenges you encounter when choreographing dances with horses?
JMS: Horses are incredibly intelligent. They can learn choreographic sequences, sometimes too well! They might start anticipating movements, even skipping ahead to finish sooner. This is why, unlike traditional dance rehearsals that rely on repetition, we adopt a skill-based approach, similar to circus training. They focus on rehearsing skill sets rather than routines. We do the same.
My choreography process begins by outlining the overall trajectory – almost like a storyboard – and then identifying the necessary skill sets. I then devise a rehearsal plan. While dancers often thrive on repetition to master sequences, horses find endless repetition tedious. Therefore, we initially rehearse the spatial patterns and movements on foot with the dancers alone. This allows us to learn the choreography without subjecting the horses to a potentially tiring and unengaging experimentation phase. It’s about respecting their nature.
When working with ridden horses, I often create maps of riding patterns that they learn before a rider even mounts. And when working with horses at liberty, understanding each horse’s individual personality becomes paramount. For me, these horses that dance are not just props; they are sentient beings deserving of respect and honor. I extend that same respect to every dancer I collaborate with.
ICONS: Your work extends beyond horses, incorporating task-based choreography and object manipulation. What interests you about exploring these multiple layers in your dance pieces?
JMS: My experience with horses that dance has indeed influenced my broader choreographic approach. It has led me to think of dance phrases and steps as a series of functional tasks. My movement vocabulary is often rooted in functionality, designed to achieve specific actions or outcomes.
For instance, in a piece created for the Bates Dance Festival in 2011, we juxtaposed highly dynamic interactions between dancers and horses in the foreground with a more subtle, task-based performance in the background. On a distant hillside, fourteen women in red gowns slowly raked hay into a massive serpentine shape. Their simple, repetitive task provided a visual counterpoint to the foreground action. By the piece’s conclusion, a magnificent hay serpent snaked down the hillside. Dance, by its nature, is ephemeral, vanishing as it unfolds…
My aim was to explore how choreography could physically alter the landscape, prompting a shift in the audience’s perception and memory of that space. The horses that dance became part of a larger tapestry of movement and environmental interaction.
ICONS: Is there a universal message embedded in the connections you create through your work? Who can benefit from a Physical Listening workshop?
JMS: The concept of listening not just to words, but to nonverbal cues, to another person’s movement, seems fundamental to effective communication in all its forms. While I initially developed Physical Listening for dancers and equestrians, I’ve since introduced it to diverse groups, including medical students, therapists, strategic planners, and even children. We’re developing Physical Listening programs for elementary schools to enhance spatial awareness, encourage respectful touch, and foster teamwork. The principles of Physical Listening extend far beyond horses that dance, offering valuable insights into human interaction as well.
ICONS: Looking back at your journey, what advice would you give to your younger self, the JoAnna just starting to explore this path?
JMS: I would tell her, unequivocally, “Don’t give up.” And don’t be discouraged if the traditional dance world doesn’t immediately understand or embrace your vision. There was a period when I stepped back, hesitant to constantly defend this unconventional work. I would tell her to persist, to advocate for her art, and make the dance world take notice of horses that dance! I would also advise patience, emphasizing that this kind of work cannot be rushed. It has taken me years to fully grasp the depth and significance of why I do this and why I love it. I would reassure her that “what you’re doing is important; what you’re doing is necessary.”
More about JoAnna Mendl Shaw:
JoAnna Mendl Shaw has been creating groundbreaking performance works for both traditional stages and unconventional landscapes since the 1980s. As Artistic Director of The Equus Projects, she is celebrated for her site-specific dances with horses and the innovative choreographic structures born from this unique process. Shaw’s accolades include two NEA Choreographic Fellowships and funding from prestigious foundations like Harkness, Jerome Robbins, and Oppenheimer. In 2017, she received an NEA Interdisciplinary Arts grant for her ongoing community-engaged work in the Pullman District of South Chicago.
References, remarks, and approval by JoAnna Mendl Shaw ©
Photography by JoAnna Mendl Shaw, Arthur Fink, Michela Imbesi, Kajsa Lindqvist ©
Interview questions by Christina Lindenmuth, Junior Staff Writer ©
Camilla Acquista, Editor-in-Chief, Dance ICONS, Inc., June, 2017 ©
