Tag Archives: ticktock dance

“Bridget kicks ass at the Royal” video + workshops, workshops, workshops + the imminent return of Jill

Watch the bar manager in the white shirt flee about halfway in– she was sure those top shelf tequila bottles were coming down!

ticktock is going to Chicago in September to teach and perform at Aloft, and Bridget and I thought we’d give our Seattle family first crack at the workshops we’re offering.  Check it.  Do it.  Tell your friends.

Note that each workshop is being offered twice; they are not two-part workshops although I’m sure you would be welcome to take them twice, or take different ones each weekend.  You may register for all three workshops in advance for $120.  See individual price below.
Please register directly with Elizabeth -liza@ticktockdance.com.
Creative Partnering – 2 hours, $40
Saturday, August 7 OR  Saturday, August 14, 2:00-4:00 pm
Learn to share weight in the air in ways that make partnering easier and more fluid.  This class begins by focusing on detailed techniques of hand-to-hand and progresses to basing and flying skills that are unusual or rarely seen, viewing partnering as choreography and conversation rather than the usual tricks and static poses, with an emphasis on skills that work with partners of similar weight.  We also use elements of acro balancing and yoga as exercises for discovering new aerial movement and complementary floor work.
Floorwork for Aerialists – 2 hours, $40
Saturday, August 7 OR Saturday, August 14 – 4:30-6:30 pm
Have you ever wanted to begin or end your aerial act with an exciting floor sequence but didn’t know where to start? In this class we will work on creating short, dynamic dance sequences to introduce or complete your piece, add a breather in the middle of long acts, make transitions between acts or off the stage, and find movement on the floor that complements your style in the air. 

Building an Act: Elements of Choreography – 3 hours, $60
Sunday, August 8 OR Sunday August 15, 11 am – 2 pm
The three elements of choreography are space, time, and energy.  We can use these concepts as lenses to dissect and define any movement.  Dance choreographers have been using this process of inquiry to make work for decades.  We are going to take these three elements of choreography to the circus.  Discover a systematic approach to putting your tricks together in a way that sets them apart and makes them come alive as performance, rather than just displays of movement.  You can use this system to create or overhaul any aerial act.

We are heading to Chicago on Sept. 4, like, 36 hours after Jill returns from Spain, so the Chicago stint will be the first time we’ve all been together since June.  We are chomping at the bit to get some new work happening.  Can’t wave a dead chicken in our studio without smacking into a good idea.  So, obviously we’ve got to do something about that.

More soon, loves. Bises.  -Liza

More… ahem… evidence…

My favorite part is when Bridget is asleep and telling me about her dreams and she says, “Armageddon!”  That’s so metal.


Hi everybody!  E-Ro. here, updating from Austin, TX — my hometown.

First off– we have lots of fun video and stories from our trip to Ashland, OR.  But they will have to wait until I can edit all the vid.  I am going to make you guys a fun video entry about that.  But our students kicked ass, our hostess was superb, and we had an amazing time in gorgeous, idyllic Ashland!

Right now I am in Austin, preparing to perform my trap solo in the Big Range Austin Dance Festival.  This festival is the work of indie choreographer Ellen Bartel.  I danced for Ellen back when I lived her, and surprised her with an application to the festival this year.

The program is beautiful, with a new piece by Ellen involving 20 dancers on video and on stage, all waiting for trains in a station.  If you’re not familiar with Ellen’s work, Google SPANK! Dance Company right now. The show also includes sublime work from Anuradha Niampally, who does the best traditional Indian dance this side of the pond.  Her piece, a trio, is so detailed, so precise, and just mindblowing.  I was also surprised to see ex- Seattlite Andy Noble and his current company, NobleMotion.  Their piece uses these big, bright light boxes on the stage, with the dancers moving around them– but the audience can’t see what’s behind them because they are so bright.  The effect is really brilliant, with dancers appearing out of the void and disappearing again just as dreamily as the came.  So beautiful!

It’s nice to be back here and performing for the first time in 9 years.  I am hoping to pin down a venue for ticktock to come back with the whole shebang– but our venue for the festival, Salvage Vanguard Theatre, is only 18 feet high.  So I may have to do a little more recon while I am here.

Jilly and B Rock, I miss you so much!

Alright, I’m off.  Coffee awaits.




here are some bits of our show… enjoy!

12 Minutes Max!

Yesterday we all rolled in to the studio late– a *ahem* few minutes after 10am, and had a kind of a weird moment… we all started asking each other about work the night before. The trifecta was swept to the 4 winds a few days ago– Liza to Vashon Island to perform with the Aerialistas, Bridget to Corvallis, OR to teach at a yoga retreat, and Jill stayed in Seattle to perform at the new Velocity space on Cap Hill on Saturday night. The rundown was that the Velocity party was a blast and everyone was hammered and Jill had fun blowing people’s minds, the Vashon shows were great and Moisture Festival is more fun every year, and the retreat was intimate and rewarding and we love our friend Jessica in Corvallis who organized it. But we all felt a little funny to have been doing our things apart instead of together. Our work depends so much on our common language– the catch-you-pull-me doesn’t work unless we are focused in our bodies and on each other. It takes a measure of focus and precision and energy. It is work. And we were all exhausted; Bridget had even driven straight back into town and to rehearsal.

And in 2 hours, we had to perform at an audition.

So we slapped on some makeup, did some pliés, ran the piece and tried to connect, put on our costumes, grabbed the iPod and made a mad dash for Queen Anne.

We rolled into On the Boards planning to meanface the competition, but they actually turned out to be these sweet young girls who didn’t need meanface-ing at all, and then our friend Andre, who needed it even less. We didn’t know the curators and figured if we had an epic fail, we’d just come back next time.

But apparently we didn’t.

So come see us in 12 Minutes Max at On the Boards April 11 &12. We’ll be performing “What I’ll Show You” from no.1. We’d love to see you there!


busy, busy, busy!

Okay! Here’s a bunch of things we’re doing… I keep saying how we’re making summer plans, so here is a little bit to get you started:

Local Appearances:
-Sunday March 21, 7:30 PM at Hale’s Palladium, Elizabeth will be performing her trap solo from no.1 as part of the the Moisture Festival.

-Wednesday, March 24, 7:30 PM at Hale’s Palladium, Jill and Elizabeth will both be performing solos at AerLift, a benefit show for Camino Seguro. Camino Seguro is an organization that helps kids and families who live off the garbage dump in Guatemala City, Mexico. You can get tix (if it’s not sold out yet) from the Moisture Festival website (linked above).

-Saturday, April 3, 6-9pm at Grey Gallery on Cap Hill, Bridget and Elizabeth will both be performing at a fundraiser for our sister company, Manifold Motion. Come on out and support our amazing, talented friends!

-Fri-Sun, Apr. 30-May 2 at the Exhibition Hall at Seattle Center, Elizabeth will be unveiling a new solo on a new sculptural apparatus in Roger Benington’s Cabaret de Curiosities at the Seattle Erotic Art Festival. Frankly, the show is going to be off the hook. So get your advanced tickets right effing now.

And then… we go on the road a bit!

Sat & Sun, May 15 & 16, we are in NYC! Jill and Elizabeth have been invited to perform their duo, “deamons no.1” as part of the 2010 Aerial Dance Fest. Performances are at 8:30pm at the JCC in Manhattan; Goldman-Sonnenfeldt Family Auditorium.

Fri-Sun, May 28-30, we return from New York just in time to turn around and head to fantastic Ashland, Oregon! All kidding aside, we are honored to be hosted by Dancing People Company for a weekend of workshops and performances. We’ll be teaching aerial rep and partnering workshops and doing 2 performances of no.1. Ticket info coming soon– looks as though the website is down for the moment…

Sat & Sun, July 3 & 4, Elizabeth will be performing “Studio:Morning” in the Big Range Dance Festival in Austin. Perfromances will happen at the Salvage Vanguard Theatre, please check the festival schedule for showtimes.

There are more things cooking, including a trip to Olympia in June, but details have yet to be finalized. We’ll let you know as things happen. Thanks for all the love and support! Let us know what’s happening in your worlds…

in which our heroines are super optimistic while juggling other projects; trying to be computer savvy

Hi good people!

First off, I have to just acknowledge that we have been a little out of sorts this past week because of the death of our friend and volunteer, John Moore. He was an extremely kind and generous man. He was smart and talented and laughed a lot. We loved him personally and professionally. We will miss you very much, John.

On a happier note, ticktock is moving into the summer with a bunch of prospects and a slew of festival applications in hand. You might have spied Jill recently performing solo at the Brotherhood in Olympia. We will be returning to Oly at the end of May, performing no.1 — probably at the Royal but we are also exploring the idea of performing the show in an open air venue there… I don’t want to say too much but we will keep you posted. It’s so exciting! In July, I (hey, it’s Elizabeth!) will be taking my solo to Austin to perform in the Big Range Dance Festival. I am super psyched about that because I am from Austin, and haven’t performed there in over 10 years now. I can’t wait to see what old friends and collaborators have to say about my new work. I am eager to hear their feedback– they have a unique perspective of me as an artist. They knew me “when”.

I just spent about a dozen hours cutting video of no.1 into a ten minute trailer. I will definitely post a link…as soon as I figure out how to get the darn thing off of Bruce’s computer and in the correct format and online. Groan. It is hard work, ya’ll! I did it for support material for a bunch of applications– some things in the PNW, some not. I will post updates here on what pans out. Keep your fingers crossed for us!

As for now, Jill and I have a bunch of shows with our other project, the Aerialistas, coming up in the Moisture Festival. We opened at ACT Theatre this weekend, and will move on to Hales Palladium and Open Space on Vashon Island. You can see the full schedule of all my performances at lizaroseaerial.com. I will be performing my trap solo from no.1 twice at Hales, and Jill and Bridget will be making appearances at Aerlift on Mar. 24th, performing new ticktock works in progress. Jill might do her freaky avant Train Sounds rope solo– not to be missed!

In the meantime, we are in the studio working a lot on our hand-to-hand and acro skills. I don’t know why, but that just seems to be where our interests lie these days. Ideas are percolating for the next show, and it is going to be weird. Very, very weird. We can’t wait.

Leave us a comment if you’re reading this. We’d like to hear from you!

on feb. 14

We are entangled. We have convoluted weight shifts. All that effort feels good. And ease? That could feel good…to execute and to witness. Laban theory I learned through modern dance training clarifies possibilites. Laban categorized Effort in Flow: free or bound, Weight: light or strong, Time: sustained or quick. Space: direct or indirect.
Is the movement fluid or restrained? How much weight should I put into this? Am I floating or thrusting? Gliding or slashing? Dabbing or wringing? Flicking or pressing? We are open to a myriad of movements. These movements all have vast emotional content. Do we make that jumpy, allegro piece that we talk about? We will delve deeper and look closer at the edges of circus and dance and what qualities these disciplines sustain that make them distinct. We deconstruct again and reconstruct again. The story lies within it all girls, let’s try to not overanalyze it. Easily said…


hanging out at the studio today, we got a very complicated, effort-full way of getting each other from one side of the stage to the other…..it’s all effort, the difference is in how much we allow you to see…. can you force choreography to tell a story, or does the movement just come out and tell you which story it wants you to get out on the table? uuuuuuhhhhh….i’m happy with the progress and the transitions we’re working on, but who is going to be there to carry bridget to the fabric? does this make sense that the manipulated (elizabeth) teams up with the manipulators and then becomes the last one? i feel like the only constant role is that our roles are constantly changing. sounds about right…..

Bridget- Trifecta Complete

I started this sentence three times before I decided I would not delete it again. Yes, it’s me, the tall one. The impulsive one, almost a loose cannon. Kaboom. Ideas spew from mouths, we listen. Yay or nay or that’s totally gay. We let each idea have it’s time and we try it out in the studio. We work well like that:
Oh oh I know! I could catapult you across the space and Jill would be there to catch you, and using the momentum, spin around to slide you back across the floor where you would find me, having transitioned back onto the trap, dangling and obstructing you. You push up into a handstand so that we are both inverted, then you go into your toehang beside mine and Jill flings herself and we could base her there. What do you think? That’s totally gay.
We want something fresh. Fusing circus and dance is not a new concept. These are not just tricks and this is not just emotive dance. We have our own brand. We break it down to it’s smallest parts…until a toehang is just a toehang and you are watching me do it and I see you watching me do it. What?
We want to bring “no.1” to other places so that we can stare at our audience, self-aware and completely confrontational and ready to talk about the fact that every toehang is just a fucking toehang. We are real, we sweat and try hard, we have mood swings and dream of running away and never coming back. We bite down and conquer and stand on tops of mountains. We know how it feels to be human and we know that you feel it too.