Tag Archives: modern dance

Ophelos by TAPROOT

The goal of Creative Thresholds has always been to explore different genres and art forms, particularly those that trouble and work those boundaries. Until now the focus has been on writing and visual art. It’s time to expand and what better way than by sharing an excerpt from the collaborative performance ensemble TAPROOT‘s original production Ophelos?

photo by Reuben Bloom

photo by Reuben Bloom

A young woman struggles against a destructive cycle of violence to save the man she loves from succumbing to a culture of vengeance. Enter the  violent, sensual, immersive theatrical experience of Ophelos

Ophelos 1 Reuben Bloom

photo by Reuben Bloom


Ophelos is an original performance piece told through movement, masques, music and shadow. It is designed to give the audience a performance experience which breaks down the fourth wall, with action taking place throughout the space. Based on the Scandinavian folk tale of Amleth with text from Shakespeare’s Hamlet, Ophelos transcends time using Shakespearean language, 1930s inspired costuming, original music, modern dance techniques and a unique understanding of multidisciplinary performance.


Ophelos is being performed throughout April 2014 in the Charlotte, NC area.

Tickets – Sliding Scale $15 – $25

Kadi Fit – 19725 Oak St #6, Cornelius, NC 28031

Purchase tickets here
Upstage – 3306 N Davidson St, Charlotte, NC 28205
Purchase tickets here

photo by Reuben Bloom

photo by Reuben Bloom

TAPROOT is a collaborative performance ensemble working to build community and create innovative cross-disciplinary performance experiences through artistic collaboration that speaks truth and challenges audiences. All of TAPROOT’s original and collaborative works have worked to engage the greater Charlotte community by inviting public participation in feedback sessions throughout the development of each piece. TAPROOT also regularly offers free or low-cost programming that encourages artists to expand their techniques, ideas and peer communities. Learn more at TAPROOT’s website or Facebook page.

Spotlight: An Interview with International Dancer and Choreographer Nicola Ayoub

Nicola Ayoubby Melissa D. Johnston

I first met Nicola Ayoub as the spunky pilates instructor who kicked my butt in class each week. I learned quickly, however, that her passion, talent, and determination weren’t confined to being a teacher at a pilates studio in Atlanta, GA. Nicola was a gifted dancer who had trained and performed with the Atlanta Ballet. In addition, she worked regularly with Full Radius, a modern dance company. Now she was moving to France. Where she would dance. Period. (Even if all the hows weren’t worked out—yet.)

And dance she has. In the seven years that she has lived in Paris, Nicola has become an award-winning, international dancer/choreographer. She choreographed a bilingual one-woman show dealing with self and cultural identity, “The Language,” which was awarded Paris Jeunes Talents in 2008 and first place at the Parisian choreography contest Tobina in 2009. She’s toured Milan, Berlin, New York City, and Seville as well as performed regularly in Paris. She represented the USA in UNESCO’s 2011 production “Astro-Ballet” and traveled to Banjul, The Gambia on a Fulbright grant to work with the country’s first theatre troupe. If that weren’t enough, she also began a dance company, 3 D Company, with partner Guillaume Morgan.

Nicola’s work is fascinating, creative, intelligent and powerful. Her positive attitude towards life and the pursuit of her dream continues to inspire me. I am honored to have gotten a chance to speak with her recently.

When did you first realize that dance was your passion? How did you decide to follow it and what keeps you energized in its pursuit?

I always wanted to perform. My first memories are of making up little song and dance numbers pretty much anywhere and for anyone who would watch.  I was 12 years old when I realized that dance was my passion and that was the thing I wanted to do with my life- be on stage and shine for the audience. Thus, at 12 I decided for myself that I would audition for the Atlanta Ballet’s pre-professional program. I called and planned my own audition, did it, got accepted, and then told my parents that dance would be my life. It is still the performing on stage that keeps me motivated to dance. Also, the chance to learn from other choreographers- their movement languages and ideas. I am always learning and hungry to learn more in this creative job.

"What I thought I knew" (duo with Asha Thomas)

“What I thought I knew” (duo with Asha Thomas)

In many of the dances you’ve choreographed and performed, you deal explicitly and implicitly with identities that are hybrid, “in-between,” straddling the borders of culture, language, and nations. “The Language,” a bilingual performance in which you use words, music, and dance to share the joys and confusions of an American living in Paris, was first inspired by your Lebanese heritage. In “What I Thought I Knew,” a duo with Asha Thomas, you both draw from your personal narratives to explore the internal realizations and revelations formed in living away from one’s home. Has the creation of dances and their performance brought a new understanding of self- or cultural- identity for you? Has it changed the way you think of the concept of “identity” itself?

Yes and yes. Self and cultural identity inspires all my work. Living far from home made me reconsider my values, my past, and who I am now. The story for “The Language” was my autobiographical experience as a foreigner in Paris and a lot of the clichés that go along with being the overly smiley American here. In France, I felt and still feel very American, but when I go back home I feel a little out of place, like something is missing. I’ve lived in France long enough that it will always be part of me too, an added layer to my identity. It is true that the original idea for “The Language” stemmed from my own identity questions about being both Lebanese and American. Until my first trip to Lebanon I was always proud to say how Lebanese I was. Then finally visiting my paternal country I realized just how very American I was/am. I think more than blood, where you grow up, what language you speak, your education, your travels, and experiences shape the person you become, in short, your identity. Through the creation of dances I’m finding how identity is also something malleable, time and experience change parts of you.

Nicola Ayoub

In “The Language,” you say, “My language is a system of symbols so that I can communicate to you my yearning, my yearning to understand and be understood.  Words alone cannot convey to you how I feel.  The body tells much more.  Les mots parfois sont inutiles. And words about the body are never as illustrative as body language by itself!” How do you think words and body language function differently in their symbolization? Do they tap into different symbol systems? I realize this question may best be answered by seeing you dance and perhaps also by we, the readers, becoming more aware of our own bodies, but perhaps words can catch a faint glimpse of the difference.

Body language tells the truth; it has weight and substance. Words can be strong too, but they mean nothing if the body language with it is false. For example, I could say “I am so happy you are here. I welcome you to my home.” Sounds nice, but imagine me saying that with my arms firmly crossed, shoulders up and tense, jaw locked, and legs squeezing together and you would definitely know that my words probably meant the opposite.

Dance is a universal language. In my opinion, open arms, a twirl, a hip sway- all that is much more inviting than the word “welcome.” For Atlanta readers, the perfect example of such a warm welcome is my Uncle Nick in his restaurant Nicola’s.  You see generosity come to life through movement and music.  Incidentally, my uncle is also my biggest dancing hero.

I totally agree about your Uncle Nick! I’ve had the honor of experiencing that generosity–and of taking part in the wonderful dancing there as well.

You’ve performed in “Astro Ballet” with a multi-national cast at UNESCO in an effort to promote the peaceful use of space through dance. You’ve also spent two weeks in Banjul, The Gambia, working at the Ebunjan Theatre with their troupe to help create and perform “Mystical Strings” and give the first modern dance show in that country. Could you say a bit more about these experiences? Do you think dance can really have a role in helping people from radically different backgrounds and experiences understand and relate to each other?

Yes! As I said before dance is the universal language. In the “Astro Ballet” the other dancers were Russian and spoke very little English, however, they all used classical ballet vocabulary (which is French and used by all ballet students worldwide) so I knew exactly what they were talking about with phrases like “arabesque, glissade, grand jeté.” Technically, the piece was very ballet based and we all shared the same vocabulary for these moves so I had no problem learning the steps called out or working with the other dancers. For the project in Banjul, the students had no formal dance training, no terminology so Asha and I had to be clear with our own movements and ask them to copy us. They learned some in this manner, but the first two days we thought they would never catch on to certain basic modern dance steps. Then we asked them to improvise to live drum music and WOW we saw some amazing natural dancers. Once we saw what their strengths were we could incorporate these moves into the choreography too so that they felt comfortable and then add new steps on top of it without frightening them.

I think music plays a huge role in this process as a guide, support, and inspiration to the dancers.

Banjul students after "Mystical Strings"

Banjul students after “Mystical Strings”

What are your current projects? What are some of the projects you’d like to pursue in the future?

This spring I am performing with the company Karma Dance Project (works by choreographers Alexandra Bansch and Gigi Caciuleanu) in France and Italy. Also collaborating with Greek choreographer Taxiarchis Vasilakos for his new creation “All is One.”

Specifically for next season, I want to expand the duo Asha Thomas and I started last year “What I thought I knew” and get it programmed in a Parisian theatre. Generally, I would like more choreography outreach projects abroad like I did in The Gambia. I’m hoping my dancing future will give me the chance to travel even more, meet new people, learn new dance styles, and share my own experiences.

You’ve been very successful in living your dream. If you had one thing to say to artists struggling to follow their dreams, what would you say?

It takes so much longer  “to make it” than you think and that is hard (the repeated rejection, the waiting, the lack of money I know it all well). But if you really want to be an artist, if you are starving to perform then persevere. Yes, perseverance will be your best friend.

***A wonderful update: In July 2013 Nicola and her partner Asha Thomas will be participating in another dance outreach program in Contonou, Benin, sponsored by African Regional Service (US Embassy).***

“The Language/femme fatale solo”:

UNESCO interview for Astro Ballet:

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