Chicago choreographer Carrie Hanson has it all: a probing mind, a social conscience, and a gift for pared-down, abstract dancemaking that nevertheless tells a story. “Infusing meaning into movement—that’s one of my core values,” she says. No navel-gazer, she increasingly sees choreography as “a means to explore and research and think about other topics, relevant to what’s going on around us.” Her 2011 Stupormarketmovingly examined our ailing economy. In fall 2012, she’ll collaborate with artist Anna Kunz on a piece about collective will and vision.
Hanson, a Midwestern native, is also drawn to site-specific work. In February, she’ll open the 10th season of her company, The Seldoms, with This Is Not a Dance Concert at Chicago’s multi-tiered Harris Theater. Each audience will be limited to 200 people and be sent in smaller groups to four different stations, including one backstage. “I’m surprised that nothing like this has happened at the Harris before,” Hanson says. “It’s a striking modern building.” To animate the structure, she adds, “I feel we need to be kind of rowdy.” —Laura Molzahn