2017 will forever be a year for the books.
I wish I could write that one sentence and call this annual entry complete, but I promised myself a while back to always take a moment at the start of each January to reflect on the year before—specifically, to document my top ten professional accomplishments—in an effort to remind myself that, Yes, I really did make progress in my career!
Yet 2017 was a little different, and for that reason, my top ten list is going to reflect this difference by encapsulating not only professional accomplishments and milestones, but personal ones as well.
1. PROFESSIONAL: We Create
Stepping into 2017, I was already knee-deep in my We Create project, having begun my work as one of its 2016-17 cohort artists in September. Through April, I continued to research and develop my initial concept: delving into the cohort’s 2016-17 theme of “hidden stories” by creating an art installation recognizing those with physical and mental disabilities. As my work unfolded, I found myself narrowing in on the specific story of my Noni’s struggle with Alzheimer’s, and society’s habit of tucking Alzheimer’s patients away—glancing by them only on the surface, unaware of the beautiful, multifaceted lives hidden within. Although I ultimately found the We Create cohort to be largely flawed in its execution, the piece I created through this process turned out to be quite poignant in more ways than one. Find out why by reading my post Red is the color of music.
2. PROFESSIONAL: 2 New Commissions—Devil's Turn & Rosoff Awards
3. PROFESSIONAL: Kinetic Craft
For my 2017 Cultural Community Outreach Project (the 6th project in this annual series), I successfully created a residency for Luminarium Dance Company at the Fuller Craft Museum in Brockton, MA, for the entire week of April school vacation. Every day from 10am to 5pm, Tuesday, April 18 through Sunday, April 23, 2017, five company members performed throughout the museum, personifying each of the museum's five crafting elements in my project Kinetic Craft.
Over the course of four months, I painstakingly constructed a series of “breathing installations”—a concept I first developed back in 2011 with my fabric installation for Luminarium's residency at the Boston Center for the Arts’ Movement at the Mills—this time highlighting four of the five crafting elements (Textiles, Wood, Glass, and Metal), while Kim tackled the fifth (Ceramics). Serving 471 visitors and featuring 12 company members and guest performers, Kinetic Craft successfully interwove movement with craft. For a more thorough synopsis with photos, videos, and testimonials, read my post “Kinetic Craft Residency in Review.”
4. PERSONAL: A Tale of Two Cities
In June, Sean and I relocated our lives to Princeton, NJ, for a job offer Sean couldn’t refuse. I don’t often speak about my personal life beyond the arts on this online journal (an intentional omission), but as I mentioned at the start of this post, 2017 marked many milestones in my personal life that merit public sharing. If I’ve never said it on here before, I regularly recognize how fortunate I am to have such an incredible partner. Yes, Kim is amazing, but this time I do mean my romantic partner. Sean is one of the single hardest working minds I know—and that’s coming from someone whose brain is constantly running! He approaches his work with a level of thoughtfulness, interest, and independence that cannot help but reveal results. As much as it saddened me to see the writing on the wall back in 2016 when he accepted a summer internship with Bristol Myers Squibb in New Jersey, I was also overjoyed to witness him working for a company that both pushed him and, at the same time, saw in him what I do. It came as a shock to my ever-under-estimating then fiancé (and as no surprise to anyone else in his life) when he was offered a rotational position with the company to begin in 2017. The work he has done since our move—and will no doubt continue to do—is astounding.
Luckily, New Jersey is a mere 6-hour drive from Boston, so my work in Massachusetts in most ways hasn't skipped a beat. As I settle into a groove of commuting back and forth for events (be it my own, or those I'm reviewing and supporting), I am confident that this relocation will proffer opportunities to further grow in my field. Already, I have met inspiring artists hailing from NYC, Philly, and the Garden State, with whom I hope to collaborate.
From a family perspective, the pace here is far slower than in Boston. It feels as though time can finally be given to long walks with my other half in the myriad of wooded parks peppering Pennsylvania and Central New Jersey, and our neighborhood is warm and welcoming (it took a while to get used to people saying "hello" to me on the street and not wanting anything in return!). Truly, there is beauty here in its more relaxed approach to life, and I look forward to our adventure unfolding as I balance my own Tale of Two Cities between Boston and Princeton.
I wish I could write that one sentence and call this annual entry complete, but I promised myself a while back to always take a moment at the start of each January to reflect on the year before—specifically, to document my top ten professional accomplishments—in an effort to remind myself that, Yes, I really did make progress in my career!
Yet 2017 was a little different, and for that reason, my top ten list is going to reflect this difference by encapsulating not only professional accomplishments and milestones, but personal ones as well.
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| Merli V. Guerra's art installation, Pieces, on view at We Create, 2017. |
1. PROFESSIONAL: We Create
Stepping into 2017, I was already knee-deep in my We Create project, having begun my work as one of its 2016-17 cohort artists in September. Through April, I continued to research and develop my initial concept: delving into the cohort’s 2016-17 theme of “hidden stories” by creating an art installation recognizing those with physical and mental disabilities. As my work unfolded, I found myself narrowing in on the specific story of my Noni’s struggle with Alzheimer’s, and society’s habit of tucking Alzheimer’s patients away—glancing by them only on the surface, unaware of the beautiful, multifaceted lives hidden within. Although I ultimately found the We Create cohort to be largely flawed in its execution, the piece I created through this process turned out to be quite poignant in more ways than one. Find out why by reading my post Red is the color of music.
2. PROFESSIONAL: 2 New Commissions—Devil's Turn & Rosoff Awards
In past years, Spring has been a quieter time for Luminarium, which allows Kim and me an opportunity to use our Winter rehearsals in a gradual, constructively explorative way. Yet this season, similar to 2016, we found ourselves with a wild January through May as we prepared for back-to-back commissions, a weeklong residency at the Fuller Craft Museum, and invitational showings in NYC and Endicott College.
Our first set of commissions for the year was the long-awaited result of a collaboration with Boston New Music Initiative. Kim and I were each given a selection of contemporary orchestral works from around the world, and I quickly fell in love with John Allemeier’s The Devil’s Turn—inspired by the quick-tempoed fiddle reel of the same name. Incorporating fleeting moments of folk dance and paralleling the string quartet with a quartet of dancers, the new work debuted to an enthusiastic audience at BNMI’s Ars Nexa Tempora at the Center for Arts at the Armory in Somerville, MA, in April.
The second commission was a choreographic collaboration between Kim, myself, and the The Ad Club, who approached us to create a new to open the prestigious 2017 Rosoff Awards at the State Room in Boston, MA. The new quintet celebrated diversity, individuality, and the power of rising as a unified society.
Our first set of commissions for the year was the long-awaited result of a collaboration with Boston New Music Initiative. Kim and I were each given a selection of contemporary orchestral works from around the world, and I quickly fell in love with John Allemeier’s The Devil’s Turn—inspired by the quick-tempoed fiddle reel of the same name. Incorporating fleeting moments of folk dance and paralleling the string quartet with a quartet of dancers, the new work debuted to an enthusiastic audience at BNMI’s Ars Nexa Tempora at the Center for Arts at the Armory in Somerville, MA, in April.
The second commission was a choreographic collaboration between Kim, myself, and the The Ad Club, who approached us to create a new to open the prestigious 2017 Rosoff Awards at the State Room in Boston, MA. The new quintet celebrated diversity, individuality, and the power of rising as a unified society.
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| Jess Chang performs Merli V. Guerra's Untitled Breathing Installation #2: Glass. |
3. PROFESSIONAL: Kinetic Craft
For my 2017 Cultural Community Outreach Project (the 6th project in this annual series), I successfully created a residency for Luminarium Dance Company at the Fuller Craft Museum in Brockton, MA, for the entire week of April school vacation. Every day from 10am to 5pm, Tuesday, April 18 through Sunday, April 23, 2017, five company members performed throughout the museum, personifying each of the museum's five crafting elements in my project Kinetic Craft.
Over the course of four months, I painstakingly constructed a series of “breathing installations”—a concept I first developed back in 2011 with my fabric installation for Luminarium's residency at the Boston Center for the Arts’ Movement at the Mills—this time highlighting four of the five crafting elements (Textiles, Wood, Glass, and Metal), while Kim tackled the fifth (Ceramics). Serving 471 visitors and featuring 12 company members and guest performers, Kinetic Craft successfully interwove movement with craft. For a more thorough synopsis with photos, videos, and testimonials, read my post “Kinetic Craft Residency in Review.”
4. PERSONAL: A Tale of Two Cities
In June, Sean and I relocated our lives to Princeton, NJ, for a job offer Sean couldn’t refuse. I don’t often speak about my personal life beyond the arts on this online journal (an intentional omission), but as I mentioned at the start of this post, 2017 marked many milestones in my personal life that merit public sharing. If I’ve never said it on here before, I regularly recognize how fortunate I am to have such an incredible partner. Yes, Kim is amazing, but this time I do mean my romantic partner. Sean is one of the single hardest working minds I know—and that’s coming from someone whose brain is constantly running! He approaches his work with a level of thoughtfulness, interest, and independence that cannot help but reveal results. As much as it saddened me to see the writing on the wall back in 2016 when he accepted a summer internship with Bristol Myers Squibb in New Jersey, I was also overjoyed to witness him working for a company that both pushed him and, at the same time, saw in him what I do. It came as a shock to my ever-under-estimating then fiancé (and as no surprise to anyone else in his life) when he was offered a rotational position with the company to begin in 2017. The work he has done since our move—and will no doubt continue to do—is astounding.
Luckily, New Jersey is a mere 6-hour drive from Boston, so my work in Massachusetts in most ways hasn't skipped a beat. As I settle into a groove of commuting back and forth for events (be it my own, or those I'm reviewing and supporting), I am confident that this relocation will proffer opportunities to further grow in my field. Already, I have met inspiring artists hailing from NYC, Philly, and the Garden State, with whom I hope to collaborate.
From a family perspective, the pace here is far slower than in Boston. It feels as though time can finally be given to long walks with my other half in the myriad of wooded parks peppering Pennsylvania and Central New Jersey, and our neighborhood is warm and welcoming (it took a while to get used to people saying "hello" to me on the street and not wanting anything in return!). Truly, there is beauty here in its more relaxed approach to life, and I look forward to our adventure unfolding as I balance my own Tale of Two Cities between Boston and Princeton.
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| Photos: Somerby Jones. |
5. PERSONAL: Married
It's official! On August 12, 2017, Sean and I made a commitment to keep this party going all life long. Read my thoughts on the wedding (and my thwarted attempt to elope) in my post "Sorry, Sean. You're stuck with me."
It's official! On August 12, 2017, Sean and I made a commitment to keep this party going all life long. Read my thoughts on the wedding (and my thwarted attempt to elope) in my post "Sorry, Sean. You're stuck with me."
6. PERSONAL: Puppy Parenthood
As Sean and I discussed the challenges and benefits of relocating, one benefit became excitingly clear: A move to New Jersey meant we would finally have space for a dog! No more cramped apartments with zero backyards; we would finally be able to bring a pup into our lives. A mere five days after our wedding, we traveled five hours to Virginia to pick up Banksy (yes, named after the elusive graffiti artist), our adorable little Goldendoodle. It’s been a nonstop rollercoaster of emotions ever since—from affection to frustration, amusement to worry—and while her name has grown to “Banksy Nala Piranha-Puppy Guerra” (or simply “Banksy Connolly” when she’s quietly behaving), this unpredictable ball of fluff has wriggled her way into our hearts for good. You can follow Banksy on Instagram @banksysighting for daily updates on her shenanigans.
As Sean and I discussed the challenges and benefits of relocating, one benefit became excitingly clear: A move to New Jersey meant we would finally have space for a dog! No more cramped apartments with zero backyards; we would finally be able to bring a pup into our lives. A mere five days after our wedding, we traveled five hours to Virginia to pick up Banksy (yes, named after the elusive graffiti artist), our adorable little Goldendoodle. It’s been a nonstop rollercoaster of emotions ever since—from affection to frustration, amusement to worry—and while her name has grown to “Banksy Nala Piranha-Puppy Guerra” (or simply “Banksy Connolly” when she’s quietly behaving), this unpredictable ball of fluff has wriggled her way into our hearts for good. You can follow Banksy on Instagram @banksysighting for daily updates on her shenanigans.
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| Photo: Brian Bolanowski. |
7. PROFESSIONAL: Outlet Dance Project
Luminarium made its New Jersey debut this fall at the impressive Grounds For Sculpture in Hamilton, NJ. I felt honored to be selected as one of the choreographers creating new work for The Outlet Dance Project, as it meant my own New Jersey artistic debut as well. Performed by Kim and myself, Weathered was created in relation to Linda Cunningham's striking bronze sculpture War Memorial III. This towering duet used 1970s CBS Vietnam newscasts as a sound score—at times, standing tall as the heroes of war, and at others, becoming engulfed by the darkness as were the civilian and military victims of battle. I described the impetus behind the new work in my application proposal:
Performed on October 7, 2017, Weathered will hold a special place in my memory for years to come—in addition to marking my first Mid-Atlantic performance, it happened to fall on my 30th birthday! Not only that, but the sculpture itself was created in 1987, so it, too, was celebrating its 30th year on this earth. Call me sentimental, but there is something satisfyingly synchronous about marking that key milestone together (not to mention spending the day with poor Kim, who was sweating buckets under 40 yards of black satin in the 90 degree sun!).
Luminarium made its New Jersey debut this fall at the impressive Grounds For Sculpture in Hamilton, NJ. I felt honored to be selected as one of the choreographers creating new work for The Outlet Dance Project, as it meant my own New Jersey artistic debut as well. Performed by Kim and myself, Weathered was created in relation to Linda Cunningham's striking bronze sculpture War Memorial III. This towering duet used 1970s CBS Vietnam newscasts as a sound score—at times, standing tall as the heroes of war, and at others, becoming engulfed by the darkness as were the civilian and military victims of battle. I described the impetus behind the new work in my application proposal:
“As a choreographer and visual artist, I often find my work revolves around the concept of the present intermingling with the past. Be it facing a past iteration of one’s self, or connecting with those who came before us, my work has been described as “haunting,” and “cyclical.” So, too, do I feel this when witnessing Linda Cunningham’s War Memorial III, whose abstracted towers of bronze strike the eye as both piercing upward through the ground while simultaneously melting back to whence they came. Researching the installation further, I find this duality of rising and falling to be beautifully metaphoric—from standing tall as veterans to withering and being forgotten, this “war memorial” begs to be set in motion.”
Performed on October 7, 2017, Weathered will hold a special place in my memory for years to come—in addition to marking my first Mid-Atlantic performance, it happened to fall on my 30th birthday! Not only that, but the sculpture itself was created in 1987, so it, too, was celebrating its 30th year on this earth. Call me sentimental, but there is something satisfyingly synchronous about marking that key milestone together (not to mention spending the day with poor Kim, who was sweating buckets under 40 yards of black satin in the 90 degree sun!).
8. PROFESSIONAL: Leaving Art New England
Relocating to New Jersey meant a shift in my work as a designer as well. In October 2017, I officially resigned from my role as Art Director of Art New England magazine. During my five-year tenure at ANE, I oversaw the magazine’s growth from 60 to 120 pages, bi-monthly; designed its feature, column, and review layouts; and mocked up a total of roughly 1,500 covers (only 28 of which ever made it to fruition). Nothing quite compares to holding the physical manifestation of a project in my own two hands—thumbing through its pages, and marveling at the cover’s fully-realized design. Equally engaging are feature layouts, which have proffered me the most room for creativity—from discussing the piece as a whole with the editor to enhancing the writer’s words through imagery. As I move on, I’m grateful for the friendships I’ve made while holding this position, and for the breadth of artists I’ve had the pleasure of working with and promoting nationally.
9. PROFESSIONAL: Dance International
In the fall, I was proud to add another publication to my list of freelance dance critic assignments: Dance International magazine. My first review for this Canadian-based print publication is set to appear in the February issue, and I’m grateful to its Editor Kaija Pepper for helping me adjust to the magazine’s writing style. Keep your eyes peeled for a piece on Boston Ballet’s Obsidian Tear, with works by Jorma Elo and Wayne McGregor.
Relocating to New Jersey meant a shift in my work as a designer as well. In October 2017, I officially resigned from my role as Art Director of Art New England magazine. During my five-year tenure at ANE, I oversaw the magazine’s growth from 60 to 120 pages, bi-monthly; designed its feature, column, and review layouts; and mocked up a total of roughly 1,500 covers (only 28 of which ever made it to fruition). Nothing quite compares to holding the physical manifestation of a project in my own two hands—thumbing through its pages, and marveling at the cover’s fully-realized design. Equally engaging are feature layouts, which have proffered me the most room for creativity—from discussing the piece as a whole with the editor to enhancing the writer’s words through imagery. As I move on, I’m grateful for the friendships I’ve made while holding this position, and for the breadth of artists I’ve had the pleasure of working with and promoting nationally.
9. PROFESSIONAL: Dance International
In the fall, I was proud to add another publication to my list of freelance dance critic assignments: Dance International magazine. My first review for this Canadian-based print publication is set to appear in the February issue, and I’m grateful to its Editor Kaija Pepper for helping me adjust to the magazine’s writing style. Keep your eyes peeled for a piece on Boston Ballet’s Obsidian Tear, with works by Jorma Elo and Wayne McGregor.
10. PROFESSIONAL: Moderated 100 Years of Modern Dance
At this stage in my career, I’ve spoken on a variety of panels covering the topics of entrepreneurship, choreography, arts funding, and legislation, to name a few. I ended 2017 with a new panel experience: as moderator. I was delighted when Kathy Hassinger, Artistic Director of Dance Currents, Inc., invited me to moderate her post-performance panel for 100 Years of Modern Dance at Green Street Studios in Cambridge, MA. In November, I had the honor of guiding a dialogue between local dance mavens Marcus Schulkind, Margot Parsons, Joanie Block, Ali Smith, Samantha Govoni, and Whitney Cover to an engaged audience who commented they wished the conversation could have gone on much longer! The event was a wonderful end to the year, and pushed me to participate in panels in a new capacity, while trying my best to employ my Libra balancing skills.
At this stage in my career, I’ve spoken on a variety of panels covering the topics of entrepreneurship, choreography, arts funding, and legislation, to name a few. I ended 2017 with a new panel experience: as moderator. I was delighted when Kathy Hassinger, Artistic Director of Dance Currents, Inc., invited me to moderate her post-performance panel for 100 Years of Modern Dance at Green Street Studios in Cambridge, MA. In November, I had the honor of guiding a dialogue between local dance mavens Marcus Schulkind, Margot Parsons, Joanie Block, Ali Smith, Samantha Govoni, and Whitney Cover to an engaged audience who commented they wished the conversation could have gone on much longer! The event was a wonderful end to the year, and pushed me to participate in panels in a new capacity, while trying my best to employ my Libra balancing skills.
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