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Each of the performing arts thrives on the creation of new work, but perhaps none more so than contemporary dance. By its nature, contemporary dance is driven by the creation of new choreography. As a relatively young art form, the contemporary repertoire has a comparatively small canon of major works, and contemporary companies cannot reach back to time-tested classic works, as often occurs in ballet, opera and theatre. In addition, because many choreographers own their works and keep them reserved for performances by their own dancers, repertory companies like Hubbard Street Dance Chicago (HSDC) have a limited range of existing work available to them. Even more important, it has been Hubbard Street’s signature to move resolutely forward with new choreography, keeping the company’s aesthetic fresh during the past 30 years. Each of these factors contributes to HSDC’s need to build a pool of choreographers who will create new work that reflects the company’s style and expands its active repertoire.

A history of choreographic development

Hubbard Street Dance Chicago’s 30-year history shows an ongoing dedication to choreographic development. Within a decade of founding the company in 1977, Lou Conte began to attract nationally known choreographers, as well as identifying company members Claire Bataille, Rick Hilsabeck and Ron De Jesus, to create and set dances on HSDC. Beginning in 1990, Twyla Tharp established an in-depth relationship with the company by setting seven of her works during the next five years, including the creation of a new work, I Remember Clifford.

When Artistic Director Jim Vincent arrived in 2000, he brought with him relationships with two internationally known choreographers who had already set works on Hubbard Street, Jirí Kylián and Nacho Duato, as well as introducing Israeli choreographer Ohad Naharin to the company. HSDC has acquired a substantial body of work for its active repertoire from each of these internationally renowned choreographers.

“Inside/Out” Choreographic Workshop

In addition to establishing and deepening relationships with these world-class artists, Vincent recognized the value of cultivating choreographic talent from within the company. To accomplish this goal, Vincent established “Inside/Out,” HSDC’s annual choreographic workshop that provides opportunities for company dancers and invited guest artists to create original choreography with their peers, complete with costumes, sound and lighting design. The workshop culminates in public performances of the works-in-progress. “Inside/Out” supports HSDC’s commitment to cultivate young choreographic talent, build an exclusive repertoire and contribute to the evolution of the art form.

“Through ‘Inside/Out,’ we are cultivating the next generation of contemporary choreographers,” Vincent explained. “Equally important, it affords us the opportunity to develop work that is exclusive to our company. This is especially important when we tour, because it means that we can offer work that audiences cannot see anywhere else.”

Several works that originated through “Inside/Out” have been developed further into repertoire for the main company, including dancer Alejandro Cerrudo’s Lickety-Split (2006), Associate Artistic Director Lucas Crandall’s Gimme (2005) and dancer Brian Enos’ Diphthong (2004). These three company members have been at the core of what Vincent envisions becoming a collective of HSDC choreographers.

National Choreographic Competition

Hubbard Street cultivates emerging choreographers with the annual National Choreographic Competition (NCC). The competition provides an exciting opportunity to pair the Hubbard Street 2 dancers with up and coming dance makers working together to create new, fresh and innovative choreography. Each year, HSDC selects three promising young choreographers to create original works for HS2. Winners receive a stipend, round-trip transportation to and from Chicago and housing and per diem for a two-week residency. During that time, each winner develops a new work with the HS2 dancers, teaches master classes and gives an informal showing of the work-in-progress. Choreography created through the NCC feeds HS2’s active repertoire for its Dance Informances for students, teachers and families throughout the Chicago area and in the Chicago Public Schools, as well as its national and international touring for public performances.

Devoting time, energy and resources to developing the choreographic talents of its own artists has benefits for everyone involved at HSDC: the company expands its repertoire with works that are exclusive to the company, and the artists stretch their creative muscles.

A Conversation with Branimira: HSDC costume designer

Branimira has been designing costumes for Hubbard Street Dance Chicago for more than five seasons. Born and raised in Bulgaria, she moved to the U.S. in 1996. She has studied costume design in the master’s program at the University of Connecticut and has a B.F.A. in fashion design from the International Academy of Design and Technology, Chicago. She has designed for choreographer and former HSDC dancer Lauri Stallings as well as Atalee Judy and Breakbone Dance Co. Audiences will view her talents through costumes for Associate Artistic Director Lucas Crandall’s The Set.

How long have you been designing costumes? How long have you been working with Hubbard Street?

I have been designing costumes since 2002, which was also the year of my first project with Hubbard Street Dance Chicago, when I designed Lucas Crandall’s Atelier. I've been working with the company ever since.

How many works have you designed for Lucas? What is the process you two have developed?

The Set is my third work designed for Lucas, after designing Atelier and Gimme. As far as a process goes, I think we've got something of the sort. When the conception of the idea for the “work” has been initiated, Lucas shares his ideas with me: his inspiration, any imagery that evokes connections to the piece, however loose, any thoughts, words, feelings. After he relates these things to me, I take them and try to translate them through costumes. We talk about the piece in general and the different “characters” or personalities in it and develop an overall look as well as individual.

What was especially challenging or enjoyable about designing the costumes for The Set?

The Set is the most theatrical piece Lucas and I have worked on. I must say that I have enjoyed working on it every step of the way. I loved seeing rehearsals. Maybe the most challenging part of it, if it can be called that, was finding the one particular character of the male dancer wearing a woman’s costume, and maybe finding the abstracted Edwardian yet more modern look of the costumes, but that is also the fun part.

What else are you working on?

At the moment I am working on Last Days of Judas at the Gift Theatre, Aladdin for Emerald City Theatre, The Mark of Zorro for Lifeline Theatre and a new dance piece for Breakbone Dance Co.