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Owen/Cox Dance Group Ready for Second Full Year |
Jennifer Owen and Brad Cox, Kansas City, Mo., could not believe the success of their fledgling cooperative visual art, music and dance company during its first year. The Owen/Cox Dance Group, founded by Owen and Cox, had three large-scale performances during the first year and a couple smaller shows. After a few choreography workshops in 2001, the two decided that dance and music could be teamed together. “It really hit that we wanted to work together that year,” Cox says. “Jennifer, though, was dancing full time for companies and we knew she would have to retire from company life to make this happen.” The two have been married five years and assert their marriage is strengthened through their collaborative work for the dance group. “OK, it took another two years when I was dancing for a ballet in Hong Kong when I realized I was missed creating work together,” Owen says. “We dreamed about our own group and that took us to 2006. In 2006, we made the decision that we should have our own company while I was still able to dance.” Owen trained in ballet at the Pacific Northwest Ballet School, San Francisco Ballet School, School of American Ballet, and the Bolshoi Ballet Academy. She went on to dance with the Russian State Ballet, Moscow Renaissance Ballet, Kansas City Ballet, Hong Kong Ballet, and BalletMet. Now she is artistic director, dancer, and choreographer for the Owen/Cox Dance Group. She has also choreographed nine works for Kansas City Ballet's In the Wingschoreographic workshop. Composer and pianist Cox is co-artistic director and musical director for Owen/Cox Dance Group. His works include 30 large ensemble jazz pieces and more than 20 chamber music and choral works. He has been a performing member of such diverse ensembles as The People's Liberation Big Band of Greater Kansas City, the Argentine tango group Tango Lorca, and the heavy metal/comedy act jazzdischarge. “We take music and dance and create them at the same time,” Cox says. “Music is not slavishly following the dance, but we create the two together. There is a level of excitement and focus from all of us.” The usual ensemble is seven to 10 musicians. There are usually about eight dancers, but each project varies. Owen says the dancers are more aware of the music with the musicians sharing space. “Again, it is a unique marriage,” she says. Cox says the collaboration allows him to see the personalities of the dancers and the musicians. “Every little success is a nice accomplishment, especially for a new company,” Owen says. “It is a little daunting since we are the lighting designers, grant writers, artistic directors and administrators. It is more work, but also rewarding.” Cox says he is glad to be part of the Kansas City art scene. “Right now, we see a receptive nature to smaller dance and music groups,” he says. “As things grow, I could envision more artists making a living at the art they are producing.” Owen says dancers have a harder time because smaller dance groups pay per project, but if there are enough smaller groups to pool roles and jobs, a paycheck could be guaranteed. “We are learning that partnerships are important. However, key to all our success is giving the community our original dance and music collaborations. The public has been warm and we love the community. We are working toward the future with a strategic plan. Regardless of an audience member’s background, the music and dance touches them.” Coming performances: “Ritual of the Body Electric” “Canon Play” “The Christmas Story” |
