Archive for Author Moquette Volante
Four Voices… meet the performers!
Kristin Ward (director/producer) is a belly dancer, storyteller and theatrical artisan who never outgrew her childhood love of fairy tales. By exploring common archetypes in stories that stretch beyond barriers into the human experience, Kristin hopes to celebrate cultural differences while discovering the similarities in between where everyone – regardless of background – can belong.
Kate Pavelle is a Pittsburgh-based novelist and storyteller.
She learned to use a gas mask in first grade. She fired her first AK47 in her sixth grade civil defense class. Her first dog was a wolf hybrid stolen from the Czechoslovak border guard. Her high-stakes, high-adrenaline childhood leaves her searching for the next exciting thing.
Kate’s quest resonates through her mystery thrillers and romances, matched only by her drive to share the fun with her readers. She once knew the hunger of being a political refugee and the terror of being pursued by government agents. Her husband and children cheer her on as she imbues her characters with her own struggle for survival, excellence, and world domination.
Learn more about her work on www.katepavelle.com.
Anjali Soi is an Indian Classical and Flamenco dancer and she has taught, performed and choreographed numerous dances for concerts, festivals, corporate and nonprofit events, competitions, weddings and dance programs. She has trained with acclaimed Bharatanatyam artists V.P. and Shanta Dhananjayan and Saroja Vaidyanathan as well as flamenco artists Mariya Tarakanova and Anna Menendez. During her college years, Anjali was a folkloric dance performer with the Pennsylvania State University International Dance Ensemble and was also a dancer for Pitt Zisha during its founding year. Anjali enjoys creating dance events and performing with local artists and together they have created well-received and highly appreciated dance events in the Pittsburgh community.
Sarah McKee is a Pittsburgh native and a lover of the art of storytelling. She has narrated several audio books for various authors, and has served in her church as a Bible storyteller for their children’s ministry. Sarah is proud to continue this career at her first Pittsburgh Fringe Festival, and wishes to thank God and her family for their love and support.
Christina ‘Versatyl’ McNeese is a Comedian & Multimedia Performance Artist. She is the Creator of ChicksBurgh Comedy, Versatyl Vizionz and “A Walk in My Shoes”. She has worked collaboratively and individually on a wide variety of socially engaging interdisciplinary projects for over twenty years. Visit her website, www.christinamcneese.com for more information.
Bibliography and Resources
Here are links to just some of the resources that helped me with the development of Many Voices… One Story. Much thanks to the creators and fellow folklorists who helped me along!
Web links:
http://www.edenvalleyenterprises.org/blhrc/educational/cindtour/world.html
http://www.pitt.edu/~dash/type0510a.html
http://www.indianmirror.com/history/mythological-stories/shakuntala-page1.htm
http://www.ala.org/offices/resources/multicultural
Pattanaik, Devdutt. “A Tale of Two Shakuntalas”
http://devdutt.com/articles/a-tale-of-two-shakuntalas.html
Books:
Jacobs, Joseph. More English Folktales 1894.
Kalidasa. The Recognition of Shakuntala. Dover Thrift Editions, 2003.
Franz, Marie-Luise von. The Feminine in Fairy Tales. Boston: Shambala 1993
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Alfred A Knopf 1976
Estes, Clarissa Pinkola PhD. Women Who Run with the Wolves. New York: Ballantine Books 1992
And…..
Interactions with Audience members at performances for POWER and Women’s Center and Shelter. (organised by Anjali Soi)
Collaborations with fellow originating cast members Kate Pavelle, Christina McNeese, and Sarah McKee
Four Voices… A Story about a Story
Long before I became a storyteller, I was fascinated by fairy tales. As an imaginative child, the characters in the tales were some of my best friends. Their adventures became my adventures, and together we got lost in the woods, fought the dragon, and were swept away by handsome princes. As an adopted child – one who arrived into her family not through pregnancy and pain of childbirth but a miraculous Phone Call – I could make up my own origin stories. I was a fairy changeling, a lost princess, a daughter of gypsies who unlike in the Shel Silverstein poem didn’t buy children, but rather dropped them off on unsuspecting doorsteps.
One of my favorite stories growing up was Cinderella. Awkward and shy, and occasionally suffering the injustices of having to clean my room, do the dishes, or eat my meat, I dreamed of a great transformation, the arrival of a fairy godmother who would wave her magic wand and make everything better. To me, the gossamer gown wasn’t just a pretty dress, it was a coat of confidence. Glass slippers were armor against anyone who would step on my toes, and the tiara glistening on my head, held high, meant that as I walked into the room full of people, they would notice me, and know I was special. Afterwards, of course, I could quietly creep back into my more humble secret identity, listening with bemusement to speculations of the princess from the far off land… I was still, of course, at heart, an introvert, and a person can only take so much Royal Ball.
Fast forward many years, and a new discovery and love of belly dance led me into the world of Scheherazade, and folklore from the Silk Road. One of the first tales I adapted was The Anklet, a Persian story about a young woman, shunned by her sisters, until a Genie presents her with beautiful robes so she can attend a royal banquet. It was a different story, and yet so familiar. I became fascinated by similarities within folklore – archetypes and basic storylines and themes that are rooted not just in our individual cultures, but the very fabric of our human existence.
Fast forward again to this past December – through news events and a disheartening conversation with a friend I became painfully aware of the cultural barriers we face in this modern but no so enlightened age. The problem weighed heavily on my heart – how can I, as an artist, acknowledge diversity while celebrating the core similarities that bring us together, and answer, “Why should I care?”
Now as an artist, I have experienced many incarnations of inspiration. The muse has tapped me lovingly on the shoulder, the little electrician in my head has flipped on a light, a seed of idea, carefully tended, has slowly sprouted in my head and formed into something tangible. This time, inspiration took the form of none of these things. Rather, it was a goon. The Goon of Inspiration burst violently into my head during a particularly relaxing massage and held me at gunpoint until I not only had the beginnings of the idea on paper but submitted it to this year’s Pittsburgh Fringe Festival. The project, “Four Voices, One Story” explores and celebrates cultural similarities and by bringing four different versions of the classic “Cinderella” tale to life, told as one in alternation by women of four different backgrounds. My show submission was first out of the hat in the Mad Hatter draw. It was going to premiere at the Pittsburgh Fringe Festival.
Now I had to find collaborators. This took some bravery. As a distinctively Northern European mud-child dropped blessedly into suburban America by fairies, initiating cross cultural communication sort of feels like showing up at a party that everyone was invited to except me. Again, the Goon of Inspiration waved his automatic as I put together a show description and call for artists and posted it online, bracing myself for some slammed doors and hoping at least a few fellow artists of diverse backgrounds might be interested. I was amazed, honored, and humbled by the shares, tags, and re-postings from various Pittsburgh organizations that I contacted. I had more submissions than I dreamed of, and all of them were really good. Like Cinderella, but with a particularly rough godfather, I had arrived at the ball. Some really hard decisions were faced, the first of which was telling the performer in me that for this premiere the piece would be stronger if I took a step back to focus on the writing and directing. I have to admit, I’m a little star struck by my cast and am really looking forward to working with each of these women.
This is only the beginning of the story. Look for more updates as the process unfolds, and I hope to see you at the Pittsburgh Fringe Festival this April!
StorySwap Fringe – Call for Storytellers
Submission period has ended. Thank you for your interest!
Hello and Good Wishes,
Great news for all of you spoken word groupies out there. StorySwap has reserved three performance spaces in the upcoming Pittsburgh Fringe Festival being held March 31-April 2, 2017. Shows run from 5:00 pm to 11pm. Friday evening and 11am-11pm Saturday and Sunday. We are pleased to invite you to offer a performance proposal. Storytellers of all backgrounds, walks of life, and performance styles are encouraged.
For those of you who are unfamiliar, the Pittsburgh Fringe Festival supports adventurous and exploratory performances showcasing uncensored artistic expression in a professional environment to equally as adventurous audiences. The Festival is a fiscally sponsored project of Fractured Atlas, a non-profit arts service organization.
Please read the following description and instructions very carefully. It contains important details and requirements that must be met in order to participate. That said we want to encourage everyone to consider a submission. StorySwap is willing to provide what assistance can be afforded by the group.
You must submit your proposal by February 12. Chosen participants will be notified the following week.
An audition tape, head shots, biography and promotional information may be required at a later date.
As a performer you are included in the general fringe marketing efforts. The Fringe promotes the festival and mentions specific shows in social media and press releases. Each performance has a full show page on the fringe website, and 1/4 page in our printed Fringe Guide that describes specific show features. Performers will be featured on the Story Swap Fringe Facebook event page, and are strongly encouraged to do their own flyering, promoting, and sharing as well.
The performance venue may be an actual theater, a classroom, a storefront or anything in between. Each space has at least 20 seats and as many as 100 seats. It may be very close to the program deadline before a venue is final. Each venue is shared with other participants. Assume no available storage space.
The Fringe festival takes care of the box office. This year, festival passes will be promoted above individual tickets. The participant guide will list all passes/tickets and payout information. Participants will receive a stipend based on their show attendance, approximately 3 weeks following the Festival.
In order to keep individual costs down, and focus on the storytelling aspects of performance, minimal technical support will be provided. We will have basic lighting and a small sound cube suitable for music and mic to fill an intimate venue. You are strongly encouraged to bring your own stage manager sound board operator. There is a 2 hour tech rehearsal for each performance. The rehearsal time is set at the discretion of the Festival. Please forward any questions through your StorySwap representatives rather than contacting the venue. You must make any specific requests for assistance or equipment very clear in your proposal. There are no guarantees.
All performers accepted into the Festival need to be available for the entire duration of the event performances and the tech rehearsal during the week. If availability is limited for whatever reason, please include that information when submitting your proposal. Performers may choose to be involved in more than one production. Individuals are responsible for ensuring that no scheduling conflicts prevent or interfere with any performances. The Fringe does not adjust any scheduling to accommodate performers appearing in more than one production.
StorySwap has reserved three 90 minute time slots, which include set up and tear down. Your proposed performance should run between 45 and 60 minutes. You may also submit a joint proposal that includes two or more performances by individuals working together. When a proposal does not consume a 60 minute time slot the time slot, you may be required to share the slot with another individual or joint performance.
Each assigned 90 minute slot includes 15 minutes to load in set up everything required by the entire performance. The house opens on time no exceptions. Likewise, there are 10 minutes to load out after each time slot. Once again, there no exceptions. You are required to work with other performers in an assigned time slot to meet these requirements.
An official run time is required as part of your Technical Survey for each performance slot. Penalties may be incurred for any run over in your actual performance time.
Each time slot carries a $30 non-refundable participation fee. A single performer in a single performance slot must pay the entire fee. Performers sharing a time slot are required to contribute according to the number of performers participating.
Shared production expense: We share this cost with you, us and the other participants. Pittsburgh Fringe, LLC paid on average an additional $500 per company for expenses like equipment, venue rental, security, techs, and marketing.
Call for Artists!
“Regardless of the interpretation, the Cinderella stories examine the test of the
human spirit. “Yeh-Shen,” “Chinye,” “Nyasha,” “Rough-Face Girl,” and
“Cenerentola” all successfully move from victim to heroine because of their
goodness and innocence. Jealousy and cruelty are repeatedly punished.
Cinderella reminds us that compassion and sensitivity will be rewarded.”
– http://www.edenvalleyenterprises.org/blhrc/educational/cindtour/world.html
Moquette Volante artist Kristin Ward is looking for three female performers of varying cultural backgrounds to collaborate on and perform in “Four Voices, One Story” for three performances during the Pittsburgh Fringe festival the weekend of April 14-17.
The performance will explore and celebrate cultural similarities and shared archetypes by bringing four different versions of the classic “Cinderella” tale to life, told as one in alternation by women of four different backgrounds. For casting, a background of knowledge in your native folklore is a plus, but a willingness to research will be a fine alternative. In essence, I am looking for strong, diverse spoken word performers with great ideas and a willingness to collaborate.
If cast, you will be listed as an originator on the project. Payment will be a cut of the ticket proceeds after Fringe expenses, and if desired you will have an opportunity to continue as a main cast member and collaborator on future funded projects.
Have a question? Email kward@moquettevolante.org
Application Deadline: January 29, 2016
Cast will be notified the first week in February, and officially announced at Tea, Tales and Taksim on February 6.
Press Release – Rochester Fringe 2015
Tales of Scheherazade at 2015 Fringe
Nazareth College Alumna Brings Silk Road Storytelling Home
Pittsburgh, PA – Kristin Ward of Pittsburgh -based Moquette Volante Theatrical Middle Eastern Dance Company will perform in the 2015 First Niagara Rochester Fringe Festival (Sept. 17-26) on Saturday, September 19 at 12 pm at Writers and Books, 740 University Ave. Advance tickets are $12 online at www.rochesterfringe.com. Remaining tickets will be available at the door beginning one hour before curtain.
Kristin Ward, a Victor native who graduated from Nazareth College in 2000 with a BA in Theatre Arts and French, founded Moquette Volante in 2008 with the idea of conjoining a new found love of Middle Eastern (belly) dance with her more theatrical roots.
“Pittsburgh has a huge belly dance community, and I wanted to be able to offer something unique that could not only set me apart, but make use of the performance and production skills I learned in college as well,” Kristin states.
So far, Moquette Volante has brought over a dozen tales to life, mostly adapted from 1001 Arabian Nights as well as other Silk Road folklore. Creating and producing these shows has challenged Kristin in every skill set, from script writing to building props and costuming. Fortunately, she has a great base of Greater Pittsburgh Arts Council resources, fellow performers, and creative acquaintances to draw from. Recently, a night out with a talented visual artist friend turned into a brainstorming session on the best ways to make a genie appear.
While Tales of Scheherazade is a more intimate one-woman version of the 1001 Nights, Moquette Volante has also presented larger collaborations, performing at the Pittsburgh Fringe Festival this past May with a show that featured Hakan, Pittsburgh’s premiere masculine belly dancer, and Egyptian Surf Rock band Amun Raqs. Kristin has also performed as a solo artist for several years as part of the Pittsburgh International Children’s Theatre Festival as well as the Three Rivers Storytelling Festival. This will be her first time performing at the First Niagara Rochester Fringe Festival.
“I’m really looking forward to it,” Kristin declares. “The Fringe staff and the folks at Writers and Books have been fantastic to work with, and my family (most of whom reside in the Canandaigua area) is really excited to be able to catch one of my shows locally. My mom has been sending me newspaper articles about the Rochester Fringe Festival since it began, hoping I would take the hint and apply. She must have found a genie to grant her wish!”
Library Performances
Performances are available to fit varying budgets. Approximate run times are listed below, but can be adjusted through adding or subtracting tales to fit venue and audience needs. Designed for a mixed family audience, the shows are suitable for all ages, kindergarten through adult.
Tales and Dance of Scheherazade – $200, one hour
Meet the clever and mysterious Scheherazade as she invites the audience on a journey into her world of storytelling and Middle Eastern Dance. Tales both well-known and obscure to Westerners such as Ali Baba and the Forty Thieves, Rescuing the Moon, and the Anklet are brought to life through movement, dance, and spoken word.
Moquette Volante – Sultan Interactive, $360 One hour
Based on availability, Scheherazade is joined by the commanding but curious Sultan, or her playful sister Dunazade to add depth to the tales of Arabian Nights and other Silk Road Folklore. As Scheherazade spins her web of storytelling, audience members are invited into the tales as non-dancing characters, allowing them to have a moment of fame as well as entertain friends and family who watch them.
Moquette Volante – Live Music, $800 One to One and a half hours
The audience enjoys Tales and Dance of Scheherazade with the added magic of live music, woven throughout the tales. Longer presentation includes a Q&A with the musicians where audience members learn some basic Middle Eastern rhythms as well as more about the process of creating the stories they have seen.
Library Workshops
Media : Middle Eastern Dance, Storytelling, $200, one to one and a half hours
Each workshop works best with a maximum of 20 participants, with plenty of room for them to safely move around. Participants should wear comfortable clothing that they can move around in. Footwear is optional; those wearing flip flops or clogs will be asked to take them off for safety. Ground or floor must be cleared of harmful debris.
Basics of Middle Eastern Dance (all ages; works best with ages 8+, or younger children accompanied by adults. Also fantastic for Teen nights, as belly dance helps build positive body awareness and confidence.)
Session begins with a gentle warm-up to loosen the muscles and prepare for the movements involved in Middle Eastern Dance. There will be a brief discussion on the history and rhythms that characterize Middle Eastern Dance. Then participants will learn some of the movements, such as snake arms, and shoulder and hip isolations, as well as a basic debke, an Arabic social dance.
Dance Me a Story (ages 8-up)
Session begins with a discussion on the basic components of a story – the who, what, where, and when, as well as Beginning (exposition), Problem, Action, and End (Resolution). Participants will then warm up with various “character” movements, and learn ways to show conflict and resolution through body language, movement, and facial expressions. Guided in small groups of 3-5 students, participants will be able to conceive simple stories of their own and develop these original tales into dance performances.
Shark! … In the Desert?
One Summer, I performed a two person show with Sadira as Dunazade. It was a small scale interactive show at a local street festival. The audience was a wonderful and responsive mix of adults and kids. We started out with the tale of Ali Baba and the Forty Thieves. Just as Ali Baba heard the hoofbeats of the thieves’ first approach and hid to see what might be arriving, a child in the audience around five years of age called out,
“A Shark!”
“A What?” I asked.
“A Shark!” the child replied.
“Oh, silly,” said Sadira, playing along, “There are no sharks in the desert.”
“No, a Shark!” the child insisted, this time pointing behind me while the children sitting next to him snickered.
Sadira and I turned.
PPG Zoo and Aquarium
www.pittsburghzoo.org
Sure enough, walking past the stage behind us, was a mascot for the Pittsburgh Zoo and Aquarium, promoting the new fresh water shark exhibit.
We had indeed been upstaged by a shark.