Director's Choice

What makes a choreographer? How does someone make the leap into making dances, and once the move is made, develop in the craft? Gina Patterson can tell you. She was an accomplished dancer for years before making her choreographic debut in 1998. That work, Insideout, was later selected to be presented at Ballet Builders in New York and at the Fifth International Ballet Festival in Miami. Last year Patterson won the prestigious Choo-San Goh Award for Choreography. Now, Ballet Austin artistic director Stephen Mills is showcasing her choreographic achievements, beside his own, in the program Director's Choice/Evolution, which presents the first dances each created paired with their latest works. The Chronicle asked Patterson about her development as a dance maker.

Austin Chronicle: What made you want to try your hand at choreography?

Gina Patterson: I had never intended on choreographing, let alone becoming a choreographer. I've always loved to dance, and my ambition was to be the best dancer that I could. Years ago, my best friend encouraged me to choreograph something, and I simply laughed and went on my way, dancing my little heart out. Then, while I was with Ballet Florida, it came up again. A colleague of mine, who is now my husband, had founded a choreographers' workshop [and] encouraged me to participate as a choreographer. Again I laughed, but this time I asked, "Who's choreographing?" He named only men. I laughingly responded, "Well, if you guys can do it, I can do it!" So because it is hard to turn down a challenge, I agreed that I would try.

AC: How has your work progressed between Insideout and now?

GP: Insideout was a blueprint for my subsequent work. In that piece I started with a few words and have since continued to develop my own language. Dance has always been my way of expressing myself, and I see now that choreography is an extension of that.

I love music, maybe that's actually what I love about dancing. Music has always been the true inspiration of the work. I listen to the music and see the work unfold. Even after the conscious thinking is done, the actual dance is dictated first by the music.

I also think that my use of structure has continued to develop as well as my language becoming more sophisticated. I have been fortunate to have had continual work from Ballet Austin, as well as work on other companies to continue my development. I'm always looking to push myself in ways that are not too comfortable, but it is necessary to take risks, even if in baby steps.

AC: Do you work any differently now than you did when you started?

GP: I think I share more of the motives for the piece with the dancers now, especially since I've gotten know them at Ballet Austin over the last five years and have worked with them in my pieces. I'm a little more willing to be vulnerable if it gets a better end result, and I also encourage their openness and vulnerability as a requirement for my work.

AC: Would you say you're where you wanted to be as a choreographer at this point?

GP: Since I had no expectations, I am thrilled at where I am and what I have done so far, especially while carrying a full load as a dancer. At first I was scared at the thought of becoming a choreographer because I didn't know if I was ready to make it a career. I didn't know if I wanted it. But then I decided that I didn't have to be ready. I will just do the work as it comes. And so it keeps coming, and I keep doing. I guess that I've done enough now that I can call myself a choreographer. But the best part about it is … I absolutely love it! I love painting pictures of life.