im not with the troupe...just posting.

im curious to see how their cue system ats language is because i know many troupes have their own sorta language compared to the exact guidelines that originated with fat chance

Yeah I would like to know that too... and.. pretty please chicas.. Can you reply ASAP? Im sorry.. my homework is due on friday and still gotta put it all together..
Luv y'all
Alina

Just joined your tribe, but I've seen some of your work on YouTube and I think you guys are amazing..

-Thanks!

Im doing some field work for this dance course Im taking and was told to pick a couple of ATS/ITS troupes and research somethings about them so if you don-t mind answering my questions, it would be great!
How long have you ladies been dancing for as a troupe?

-The dance company was formed in 1999. My current principle dancers TeeJei and Katya have been with me since 2006. Majda performs with us when she can, she is concentrating on finishing up her degree at Georgia Tech.

How did the members come together?

-This current group of dancers auditioned. The audition consisted of an interview and presenting a short prepared piece. Previous members were pulled from the classes but I discovered that the audition process gave me and the dancers a more realistic idea of what to expect from each other.

How was your ITS language developed and formed? (what contributed to it?)

-We refer to ours as ATS because we are still 99% based on FCBD with a few of our own moves from past choreographies that had a base of Salimpour footwork in them so they fit into the format. We are all GS Certified. Our own bit of weirdness is that we have to face the opposite way because in our regular performance space we would face the wall/away from our audience. www.youtube.com/watch you can see an example at about 3:30
We also do standard choreography, a general 30 minute show from us will consist of about 70% choreography and 30% improv. We use the improv to reconnect with each other and re-energize.

What would you say is the key to have a good relationship with each member and how do you work together?
It is always a work in progress to create good relationships in a performance group. Guidelines that are clearly stated and enforced throughout the relationship is important. Friendships that will, of course, develop because of time spent together and common interests should help the dance company flourish and not be an excuse for lack of communication to and thru the director or a lax in rules that will lead to a less professional presentation.

That's about as much as I can type at the moment, still feeling dreadful from the flu and the previous bronchitis I can't seem to shake (and you caught us the week after our big festival), but hope you can use some of this. Sounds like you have a great teacher!