In 1992 Amanda Miller founded Pretty Ugly Dance Company. It provided a platform for dancers, musicians, visual artist, poets, stage and costume designers to create works independent of institutionalised theaters and budgets. In its first four years of development, it was a widely sought after company as it toured the USA, Europe, India and Japan because of it's unique desire and application to become a multi-dimensional and contemporary "dance company": autonomy was encouraged.

The artistic roots began with classical dance whose forms and patterns are discernable in the company's work. The forms were continuously being re-built and re-shaped by the company's artistic director Amanda Miller and collaborators. They were constantly searching for new possibilities, constructing bridges between different eras and styles, inventing hybrid forms of movement.

Literary and artistic influences, along with an intense exchange with musical forms, enriched the dancers work and facilitated the inquiry into a contemporary representation of dance.

From 1997 until 2004, the company entered into a co-operative venture with the city and theater of Freiburg, Germany : Pretty Ugly Ballett Freiburg.

From 2005 until 2009 , Pretty Ugly/tanz koln existed. This development from Pretty Ugly Ballett Freiburg was instigated by Uwe Moeller, creating a co-operation with the theater and city of Köln, Germany.

Chapel Hill 2011

Pretty Ugly

The idea was to create and provide more freedom and respect for dancers in the professional world, allowing more disciplines to combine, work together and create balletts, pieces, dances, events, theater, and new music. I was very curious about how Co-Lab functioned in NYC and the artist collaborations created in Berlin before 1989. I wished to install a sense of contemporary art without negating the classical form. Education of all kinds are extremely essential.

The heirarchies sometimes found within a dance company could be alleviated so more creativity and inter-dependence could be revealed by the dancers. The dancers becoming more themselves.

Individuals sharing the stage with their sense of community articulating the choreography, self-discipline and integrity. And at the end of the day, a spontaneous and real dialogue with the audience. Beauty is in the eye of the beholder: pretty ugly

 

 

2001 Matsuyama, Japan, notes for Yummy Dance... reverence

A person/human may step outside of them self, to step inside, to help them come out of them self,
to be able to recognize the second body.

To look at them self -and then step back
To have the courage to express oneself,reflection.
Earlier in Matsuyama we referred to it as "second-body".The first year in Yokohama,
Yuki expressed "Braveheart".
I just like to work with people to use their knowledge and increase their techniques with the "second body".
The harmony which is developed within the person is then expressed outwardly and a physical sense of sharing occurs.
We work on understanding and sharing the space around us with ourselves, our second bodies and the other elements in the room.
people ,architecture,light,chairs,coffee cups,etc...our enviroment
A result from working with and sharing the enviroment , sometimes it is the simple element of "harmony".
That is what we are working for.
That is our goal.

 

 

 

 

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