The Making

The Making (2017) continues the company's investigation of power that began with the dance theater works Power Goes (2015) and RockCitizen (2016). The Making, a piece without words, considers states and positions of voicelessness — of powerlessness — drawing attention to the perceptual lenses that render a person, a people, a neighborhood, a nation visible or invisible. As bodies surge, collapse, stutter, endure, and assert themselves in three distinct settings designed by three visual artists, The Making offer experiences of seeing, partially seeing or not seeing at all. The Making suggests that our recognition and understanding of others is tenuous and fragile, based on eyes that become organs either of empathy or division.

The Making premiered as a traveling performance in three architecturally significant spaces in Pulaski Park, one of Chicago's historic fieldhouses.

The Making enjoys commissioning support from Texas Performing Arts at the University of Texas at Austin, with additional support from the Martha Struthers Farley and Donald C. Farley, Jr. Family Foundation, The MacArthur Fund for Arts and Culture at The Richard H. Driehaus Foundation, Saints Foundation, Gaylord and Dorothy Donnelly Foundation, Elizabeth F. Cheney Foundation, and many generous individuals.

The Making

Choreography & Direction:
Carrie Hanson
Performance & movement development by The Ensemble:
Philip Elson
Sarah Gonsiorowski
Christina Gonzalez-Gillett
Damon Green
Matthew McMunn
Cara Sabin
Hannah Santistevan
Installation/Design:
Fraser Taylor (section I)
Bob Faust (hallway and section II)
Faheem Majeed (section III)
Projection:
Liviu Pasare
Sound Design & Composition
Mikhail Fiksel
Performance & Composition
Chihsuan Yang
Lighting Design & Technical Direction
Julie Ballard
Costumes:
Melissa Leandro
Damon Green

The Making

"If you want to see something really different, refreshing and thought-provoking, go see The Seldoms' latest multimedia installment, The Making." — seechicagodance.com


"In The Making, dancers are heroic, making cranes and levers of their bodies to furl and unfurl down the length of an auditorium, making architects and architecture of themselves. The majesty of human endeavor and the humility of its labor are here." — Chicago Reader

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