Anne Schreivogl’s colorful paintings have inspired joy and wonder in viewers for several years, but now they are also inspiration for a suite of modern dances.
It’s “Art leading to inspiration leading to art,” Schreivogl said.
For “A Gallery of Dances,” The Dance Center’s annual spring concert June 7 and 8, each teacher chose a different artist to interpret in music and movement — Lorrie Steele is doing Georgia O’Keefe, Rebecca Bogie picked Frida Kahlo and so on. Paula Clancey’s suite of dances, “The Crooked Line,” is based on Schreivogl’s vibrant modern paintings.
“It’s a different approach than we’ve often taken,” said longtime dance student Nia Heffelfinger. “There are totally different perspectives and eras. That’s kind of the point. It’s like you’re walking from room to room (in a museum).”
“A Gallery of Dances,” the annual spring dance concert by the Dance Center, is 7 p.m. Saturday June 7 and 3 p.m. Sunday, June 8 at Brodinak Hall.
A museum comes alive as works of art are transformed into a moving dance masterpiece. Tickets at the door are $12-$16, or get a $2 discount by buying them ahead at the Dance Center, 901 Third St. Call 299-8447 or visit http://www.anacortesdance.org.
Clancey took her students to a recent show of Schreivogl’s work for inspiration. She also brought an original Schreivogl painting that she owns, “Nightcrawler,” to the dance studio. Heffelfinger was struck by the fanciful piece immediately. She liked the way a fist holding flowers juts into the piece and a happy worm hitches a ride on the bike.
“I said ‘It would be fun to do a little solo piece because this is my senior year.”
Clancey immediately offered her the chance to interpret the painting.
“Paula gave me the foundation,” Heffelfinger said. She was given three guiding words: “Lyrical, wistful and angular.”
With Clancey acting more as an advisor than an instructor, Heffelfinger choreographed her piece.
“It was up to me to come up with the dance,” she said.
The “Nightcrawler” dance looks deceptively simple, but Heffelfinger said some elements are much harder than they look, such as riding a funky red bike on stage.
“I’m excited about the way it’s come out,” she said.
“She has choreographed a great wistful dance,’” Clancey said.
Heffelfinger is also participating in a piece for Jeanne Robson, “The Window of Make-believe.”
“We call it the Asian cowboy piece. It’s sort of an East meets West collaboration,” she said. “It’s very interesting.”
Heffelfinger has been dancing for roughly 15 years. She’s been involved in every incarnation of the dance school, from Fidalgo Performing Arts School to John Bishop’s studio to the AYA program and now, finally, The Dance Center. She said some people do drama or sports, but dance is the best of both, all rolled together.
“You are in control of what you are doing,” she said.
Schreivogl said she enjoyed meeting the young dancers and found herself inspired by their response to her work.
“It was really exciting to see an interpretative dance group react to my paintings. It was like painting my paintings all over again, seeing their energy and creative interpretation moving through the air,” she said. “Kids are so creative and it reminds me of a quote by Pablo Picasso: ‘Every child is an artist. The problem is how to remain an artist once we grow up.’”
Heffelfinger may have a handle on this problem. Although she does not plan to make dance a career, she expects to keep it in her life. She will attend Reed College, where she won’t major in dance but, hopefully, will be able to participate in classes and performances.
“It’s something I don’t want to give up and I don’t think I can give it up. It’s become an elemental part of my life,” she said.
