PEGGY PIACENZA – Seattle Dances


My private introduction to Peggy Piacenza in efficiency was Dayna Hanson’s 2013 manufacturing The Clay Duke. I nonetheless bear in mind Piacenza, stage left at On the Boards, methodically eradicating and naming every merchandise in her purse, from the anticipated—a lipstick—to the absurd—a clown masks. After all it was me who was new to Seattle on the time, not Piacenza, who has been performing and making work right here for the reason that early 90s. Since The Clay Duke I’ve tried to catch each creation and efficiency of Piacenza I can, and every reveals itself to be simply as haunting and memorable as that first introduction. 

Filled with aesthetic storytelling and off-beat characters, Piacenza’s work looks like a strategy of transformation: for the area, for the dancers, for the viewers. Her solo present, 2014’s Contact Me Right here, staged at Washington Corridor after which once more at Velocity, flipped between an array of personas with humor and intimacy, ultimately constructing to a wild and highly effective climax. Piacenza thrashing her limbs and howling an ecstatic melody right into a microphone is completely etched on my reminiscence. A number of earlier performances with 33 Fainting Spells and Dayna Hanson nonetheless exist on-line, equally showcasing how she will be able to go from understated to wild like a change flipping. Her idiosyncratic and unpredictable physicality command your consideration. 

The Occasion. Dancers: Kim Lusk, Wade Madsen, Amelia Reeber, Ezra Dickinson, Peggy Piacenza. Picture by Jazzy Picture.

Her 2017 present The Occasion featured a solid of beloved Seattle dancers in a cotton sweet cloud world, an aesthetic setting developed even additional for video, set up, and efficiency work candy rotten candy in 2019, which showcased Piacenza’s artistry in a number of mediums. These main choreographic works reveal a depth that comes from a multi-year course of and producing a number of iterations, in addition to a lineage of working with revered artists of Seattle and past. 

Like many dancers, Piacenza began at a studio native to her Illinois hometown. Fortunate for her, Carol Walker ran the studio, who would later develop into the dance division chair at SUNY Buy. By way of this high quality studio, Piacenza was uncovered to many types of dance at a younger age, together with improvisation. “I bear in mind improvising,” she recollects, “this picture of leaping on a chair and sort of gesturing and waving my fingers. That is the place my love for improvisation started. I used to be hooked. I’ve my dad and mom to thank for this. They supported me whereas making their very own sacrifices as a way to pay for my lessons. These had been the beginnings of a life pointing in direction of the physique, in direction of dance.”

This isn’t to say that Piacenza didn’t ever take breaks from the dance world. Describing the trajectory of her profession, Piacenza usually refers to intervals of burnout that punctuate her relationship to the artform. After learning on the Academy of Performing Arts Excessive College in Chicago she attended North Carolina College of the Arts, the place Piacenza describes a rigorous and poisonous studying setting. “The mannequin at UNCSA was to interrupt you down as a way to construct you up, to be the dancer they wished you to be. I did get damaged down. I misplaced perspective of why I used to be dancing. My alternative to depart was of my very own accord and it was a tough choice to make.” A number of of her classmates have just lately come ahead in sexual assault allegations in opposition to lecturers at UNSCA, a truth which doesn’t shock Piacenza and her expertise of a “extremely sexualized setting.” 

Peggy Piacenza and Wade Madsen in a nonetheless from Dayna Hanson’s movie The Enchancment Membership.

She give up—leaving dance solely for 2 years and toggling backwards and forwards between residing in North Carolina, Seattle, and New York. She discovered reentry into dance by means of lessons with Erin Matthiessen at UW, after which got here the second that soar began her profession and cemented her firmly in Seattle—an audition for the Pat Graney Firm.

Piacenza was amongst a cohort who joined the Pat Graney Firm within the early 90s who would develop into movers and shakers within the Seattle scene. “I used to be working with a collective group of stellar girls, I used to be studying concerning the inventive course of. I used to be studying about what it’s to experiment, take dangers and to be in dialogue with complicated concepts, after which implement these concepts into a completely realized work. I attribute entering into Pat’s firm as the beginning of all of it.”

Piacenza was additionally considered one of 9 founding members of D9 Dance Collective, which commissioned works from choreographers like Bebe Miller, Wade Madsen, Stephanie Skura, Jim Coleman and Terese Freedman. Within the second half of the 90s she grew to become a performer and artistic collaborator with Dayna Hanson and Gaelen Hanson’s firm 33 Fainting Spells. “I felt lucky to lastly really feel like I had a group of individuals to bop with, and to this present day really feel extremely grateful for that.”

Course of for Quiet. Picture by Doug Arney.

Pat Graney and 33 Fainting Spell’s type of dance theater helped Piacenza perceive her strengths and pursuits as a theatrical performer fairly than a classical one. Different mentors embody Bebe Miller, Stephanie Skura, Karen Nelson, and Daniel Nagrin, whose method Piacenza used diligently to analyze the who, what, the place, why, and when of every position. “Each position that I took on, I’d spend in-depth time exploring find out how to manifest this efficiency.” Her later work touring with Deborah Hay (in 2006 and 2007) pushed her to consider being obtainable to the second, presence and welcoming being seen. “Working with Deborah turned the notion of ‘efficiency’ the wrong way up for me. It was one of many hardest and finest experiences as a performer that I’ve had. I wasn’t capable of depend on earlier performative strategies—I needed to start to belief no matter was taking place within the second and reply to it instantaneously. It was all so psychological, however so good. I failed again and again.”

This historical past of curiosity, analysis, and intention could also be accountable for the depth that comes by means of in Piacenza’s performances. Her course of continues to evolve, and today, meditation, stillness, and quiet play an enormous position. “That’s my somatic follow proper now…sitting, strolling, and settling the physique in stillness. This course of begins to soften the armor surrounding my coronary heart and in flip creates the area to expertise the fun of day by day life. All my anxieties, fears, and exhausting harmful habits are seen for what they’re. Ancestral patternings. It’s not straightforward. That is the day by day follow I’m dedicated to.” 

Maybe these practices are what maintain her performances feeling so intimate, though Piacenza is usually enjoying characters. After I ask Piacenza concerning the relation of the self to the efficiency self, she responds, “I feel they’re one and the identical. One thing about vulnerability involves thoughts. One thing about how the self and performer is attending to the second. One thing about how one sees with their eyes. Efficiency is a spot to play out each the inside and exterior life with all of its vulnerability and discomfort. What are the refined methods we cover in our on a regular basis lives, and does this influence how obtainable we’re to our inventive course of and the roles we deliver to life? Possibly I’ve been hiding all of those years behind the roles I’ve been enjoying? Hiding or not-we are all the time current.” Like so a lot of her solutions, she is pondering either side of issues, residing in complexity the identical approach her efficiency work does. Unusual but relatable, goofy but sorrowful, refined but feral.

Ode to Baba. Picture by Gaelen Hanson.

In 2007, after a number of massive scale works of her personal and others, Piacenza had her “second burnout” and returned to highschool to check faith and gender research at Smith Faculty in Massachusetts. However even then the supposed distance from dance didn’t final lengthy. She began dancing for an previous UNSCA classmate who occurred to even be attending Smith, after which, though her main was not within the dance division, “Every thing I used to be writing about was funneled by means of the lens of the physique and efficiency.” Contact Me Right here featured a video of her thesis—a closely padded Piacenza finishing what have to be the world’s most exhausting and dizzying journey for a cup of espresso, log-rolling the whole distance down the streets of Northampton in tribute to Lotan Baba, “The Rolling Saint” of India. 

Since her return to Seattle in 2010, Piacenza’s works have bent autobiographical, however her beginning place is considered one of picture fairly than story. “I belief an impulse, I belief a picture, and I mainly construct on it…one picture results in a number of pictures, among the pictures type relationships, some don’t, some concepts keep, some go away. And the which means that’s inherent in my work isn’t clear from the beginning, however as the pictures begin taking form, the piece begins to tell me.” For instance, Piacenza tells me about a picture that figures prominently in a number of works: a ship filmed from above, coming into view and out of view. One thing about it caught together with her. Later, as her mom was dying, she opened to a poem, Bishop Brent’s The Ship, a precise description of the boat picture. 

That includes this picture, The Occasion responded to the loss of life of Piacenza’s mom and her personal fears round mortality. “I don’t really feel the momentum of youth that I felt in my 20s, 30s, and even my 40s. Although I don’t really feel previous, my mortality sort of hovers over every little thing proper now. And it’s asking me to concentrate in a unique type of approach. It additionally places into query, what does it imply to be an artist, at this stage, particularly a white middle-aged feminine recognized artist? How am I connecting, responding, listening, belonging and trusting-within the present local weather of all that’s taking place on this world. What sort of work am I at present making and does it have any relevance?”

Contact Me Right here. Picture by Tim Summers.

These days Piacenza’s focus is popping extra in direction of video set up because the outstanding automobile of expression to deal with a few of these questions, a pathway evident in her most up-to-date main work, candy rotten candy. Piacenza developed materials from The Occasion for an immersive set containing projections each bigger than life and tiny sufficient to slot in the palm of your hand. “Video permits me to broaden my palette for creating which means and complexity. It permits me to direct the viewer in methods dwell efficiency can’t all the time do.” Examples she offers are highlighting minuscule actions or the feel of supplies, to not point out the play with scale and perspective displayed in candy rotten candy. “The pictures and characters I work with are likely to create a surreal, fantastical panorama that’s each actual and imagined. The intent is all the time to disclose the ability of the lived expertise.”

By way of lived expertise, The Occasion and candy rotten candy felt private, however existed in that area of frequent expertise that gives slightly distance between the artist and the artwork. Much less so in her most explicitly memoiristic work, Contact Me Right here, which grappled with the taboo of her different profession as a stripper. “I by no means actually discuss my 30 12 months profession within the intercourse trade. I’ve been fairly personal about it. Contact Me Right here was the primary time I introduced it out. What was necessary to me on this work was to get previous the apparent dialog surrounding exploitation and empowerment, and discuss what by no means will get talked about, connection and intimacy. That is the dialog that’s lacking and that I’m all the time prepared to have. There’s a lot disgrace related to the human physique—can we flip in direction of pleasure as a substitute?”

It’s taken a variety of processing, however Piacenza has realized that there’s no distinction between these varied elements of herself—the performer, the intercourse employee, the getting older dancer, the non secular self, the roles that she’s performed over time. The work she’s at present creating, Quiet, is all about exploring integration, largely by digging into her private archives. “These are characters and roles all through my performing historical past which are pricey to my coronary heart. These characters haven’t stopped residing in me. So I need to resurrect them in a brand new mild.” Footage from a current On the Boards residency exhibits the eagle from Gloria’s Trigger in dialog with the clown from The Clay Duke, two roles performed in Dayna Hanson’s work. Hendri Walujo, Julia Sloane, and Amelia Reeber have been a part of her course of. 

Gloria’s Trigger by Dayna Hanson. Dancers: Peggy Piacenza, Pol Rosenthal, Dayna Hanson, Wade Madsen.
Picture by GlassWorks.

Quiet is predicted to debut in 2023, however Piacenza’s not getting too particular about timelines. Earlier tasks have been so consuming it typically feels as in the event that they “rob me of my life.” So Piacenza is studying to work slowly. “I’m attempting to counter this tempo of manufacturing and consumerism and the truth that we’ve to provide and work rapidly and onto the following mission. My creative course of is asking me to decelerate a bit, to see what’s right here, what’s current. And I really feel like that helps us to domesticate a approach of seeing that strikes past a type of capitalist  consumerism, consumption, and quick tempo residing that takes maintain of our psyche and soul. So slowing down, that’s my resistance.”

Piacenza cites Barbara Brennan’s e book, Gentle Rising, as an affect. “I actually love the best way that she talks concerning the inventive course of. She talks about it as an growth and contraction, and that the contraction part actually must be honored. It’s after you’ve simply given start to an enormous piece and that it takes time to come back again to your self and digest what you’ve accomplished.” The practices of slowing down, meditation, digestion, all of them lead her to the concept “We start repeatedly,” a line that has appeared in Piacenza’s works. “Each second is an  alternative to start out anew. To start out contemporary with maybe a unique response to regardless of the second is bringing us.”

True to her philosophy of recent beginnings, Piacenza is asking herself how she desires to develop as she embarks on this new work. This time, she needs to make a stronger connection to her viewer and needs the viewers to have the ability to “discover one thing slightly bit extra tangible.” Course of-wise, she’s studying to combine the ever-present doubt that, like many achieved artists, plagues her. “There’s all the time going to be the sensation like, why am I doing this? However I’m starting to belief. I feel it is a frequent course of, a course of I’ll be in dialogue with for the remainder of this life.”

Course of for Quiet. Picture by Doug Arney.

I’m reminded of one thing Piacenza mentioned to me about 5 years in the past at a DanceChat occasion, after I was experiencing my very own bout of garden-variety artist doubt. “There’s a complete individual in there,” she mentioned. It’s stayed with me—a reminder that every one persons are stunning and sophisticated and worthy of creating artwork in the event that they need to. Piacenza’s knowledge and work has me fascinated by this concept of integration—of the individual, the performer, the artist. In dialog she is so right down to earth, so humble, and a contact reserved. I’m delighted and impressed to know that this individual can also be that unusual, or attractive, or wild, or commanding individual I skilled by means of efficiency. It flies within the face of the ego we prescribe to performers, or any stereotypes round intercourse staff. In terms of Piacenza, “There’s a complete individual in there” looks like an understatement. 

Maybe most evidently, Piacenza appears to method every little thing with a deep kindness and consideration. These might sound like persona traits, however when course of is product, when the work of the artist is dismantling and questioning, the artist and the artwork overlap. As a founding member of Base Experimental Arts + House in Georgetown, Piacenza has spent the final 5 years serving to make area for artwork exterior her personal work. “I’m grateful for the Base workforce and for all of the artists who’ve made Base a house for his or her creative course of. One in every of my best joys is making new connections and seeing individuals do their work.” She is happy that the 2022 artist residency program will likely be curated by Pol Rosenthal and DK Pan.

“Simply watching our bodies transfer brings me a lot pleasure. The ability of efficiency is that it’s a portal. It’s a transference of presence the place a sort of magic occurs. And it’s a witnessing, receiving and giving a witnessing…one thing bigger than ourselves. This very highly effective medium takes me past the mundaneness of on a regular basis existence.”

To study extra about Peggy Piacenza, previous and current, go to her web site



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