The Art of Dance

As the music of John Adams fills the air, the dancers spring to life, each taking their places waiting for their cue to perform in a dance studio at Concord Academy.

The dancers and the instructor are in one place: in the world of dance where freedom is boundless and originality is explored.

In a series of movements, the dancers elegantly conduct energetic movements such as running, jumping and twirling, followed by a graceful drop to the floor. The dance is similar to that of a wave, as it has a tremendous amount of energy as it crashes at the sea.

In an interview with Patch, choreographer Daniel Charon said the original work focuses on the youthful energy of being a teenager and using this as the jumping off point. In Charon's class, titled New Work: Process to Performance, 30 students take part in the class and vigorously practice five times a week for two hours a day to prepare for their upcoming performance on July 31 at the Institute of Contemporary Art.

Charon, who was a full-time member of Doug Varone and Dancers from 1999-2009, where he served "as dancer and rehearsal director and before that danced with the Limon Dance Company for three years," according to the academy's Web site, teaches regularly at several studios in New York City.

The work, Charon said is also about "the optimism and desires of the future. The opportunity to work with such a large group of dancers is rare and I cherish the opportunity to give it a try."

Adams' score, Charon says, "supports the work viscerally and dramatically. It drives the dance from a fervent to beginning to an eventually hopefully and optimistic conclusion."

While Charon says he is "still finding (his) way, solidifying ideas and concepts" for the work, he hopes it is "cohesive and clear and allows the audience in."

Charon added: "By this I mean offering universal perspectives, thoughts and ideas which gives room for the viewer to see themselves in the work."

Asked whether the dancers are learning the techniques quickly, Charon said he is not focused on that as much.

"My priority is to create a new work and I am asking the dancers to bring their own technique and abilities to the work," he said. "They are incredibly focused and work really hard and already have an amazing cohesion as a group. For me, in this type of situation, this is as important, if not more important than individual ability."

The idea of freedom is at the core of Charon's work.

"What inspires my work is being young and eager and optimistic: the idea of being suppressed by order, and the desire and need for freedom," he said.

And dancing is clearly a love of his, as it seems to embody his whole being.

"Personally dancing is a way to be in touch with my body, experience intense feelings manifested both physically and mentally, sweat, have mini-breakthroughs, challenge myself, share with people, inspire people, ask people to consider their own humanity and hopefully sometimes evoke or provoke an emotional experience to the viewer … perhaps something profound," he said.

Charon's work is one of many performed at the Summer Stages Dance, "an acclaimed performance series that offers the best of contemporary dance," according to the Academy's website.

The site states of the series: "The three-week workshop (which began July 11 and continues until the end of the month) not only includes rigorous training in ballet, modern, improvisation, composition and repertory, but also offers an unprecedented opportunity for seasoned professionals, advanced level students and new choreographic talent to work together on the creation and performance of original new works."

The application process for the program includes the submission of a one-page description of one's dance background; a letter of recommendation from a current dance instructor; and finally a DVD "demonstrating your current technical ability and performance skills," according to the website.

Richard Colton, one of the founders and directors of the Summer Stages Dance series, said 80 students are picked for the program. For the program, students must at least be 16 years old.

In choosing applicants, Colton said the academy looks at a student's full profile.

The faculty who teach the workshops are "from the world's premier contemporary companies," according to the Web site.

Colton added that the performances in this series are very unique as they include a "dimensionality that is very rich."

In its 14th year, the series has marked this year with the expansion of its partnership with the Institute of Contemporary Art/Boston.

As part of the partnership, according to the academy web site, "Summer Stages resident artists will present The Art of Collaboration: Process and Performance, a new series that highlights the resonance between dance, the visual arts and poetry at the ICA's Barbara Lee Family Foundation Theatre."

Artists included in this collaboration are Miguel Gutierrez and Jenny Holzer, Trajal Harrell and Sarah Sze, and Rashaun Mitchell and Anne Carson.

Colton said in this new technological age dance is more important than ever.

"Dance takes more significance," he said.

He added that dancing takes such a direct form, as it is body- to-body work and directly communicating between the dancers and the dancers with the audience.

For more information on Choreographers' Project Showcase featuring new work by Daniel Charon at 3:30 p.m. Saturday, July 31 at the Institute of Contemporary Art visit the Web site: www.icaboston.org or summerstagesdance.org/performances/meet.html.