Rock Steady In The Madcap: Samuel Pott INTERVIEW

Rock Steady In The Madcap: Samuel Pott INTERVIEW
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Hannah Weeks in Samuel Pott’s Esther.

Hannah Weeks in Samuel Pott’s Esther.

Megan Malloy

“You keep pushing till you get it right.”

With APAP 2018 around the corner, plus open-house celebrations at their world-class studios happening the next day, Samuel Pott is a busy man. He recently spoke with me about his company, Nimbus Dance Works, and his career as a soloist with The Martha Graham Dance Company.

You started dance training in college with Marnie Thomas and David Wood at UC Berkeley.

Yes, though David Wood had retired by that point and Christopher Dolder, another former Graham dancer, was also a key teacher. Then I worked with Reginald Savage at Savage Jazz. He was like a drill sergeant. His motto as a teacher was "My goal is to make you quit. If I can't make you quit, then maybe you want to be a dancer."

Samuel Pott in rehearsal.

Samuel Pott in rehearsal.

courtesy of Samuel Pott

Crazy.

Yeah. It built a mentality around dance that was based on sheer determination: "I'm not gonna let this guy make me quit. I'm gonna keep going. Even if I’m injured". It was a great indoctrination into the focus and motivation that dance requires; but didn’t necessarily promote a great attitude for taking care of myself or understanding how my body moved, you know?

How did the school at Nimbus get started?

The company had a 3-month after-school program called JC Groups where we worked with students twice a week for two hours straight on technique, creative work, and rehearsals for performances. I've always loved the notion of self-transformation through dance: "If you work hard, your body will change and you will get it". I think it's one of the most important things about dance. But there were no adequate dance studios or schools where these kids could continue training after the program finished. So we started Nimbus’ school and created scholarships for kids who were inspired.

This was around the time you left The Graham Company. Did you miss out on dancing with PeiJu?

Sam's wife is PeiJu Chien-Pott, a principal dancer with The Graham Company.

We had a couple years in the company together. At the same time, this was before PeiJu blew up. She was an apprentice doing corps roles at that time!

If you’d known that she was going to become the company’s superstar, would you have stayed and become part of a star couple with her? Like with Buglisi and Foreman or Herring and Rioult?

No. I mean, PeiJu’s career is really her own. She's made it for herself and pursued what she's really wanted to do, even in going part-time with Graham and putting together projects on her own, It’s the same with me. We don't see our artistic paths as necessarily connected, although we do overlap.

Scheduling is the real challenge. She’ll be on tour and I'll be crazy busy and then she’s off to China, you know? The thing we worry about is providing stability for Sofia. Sofia is the real champion; somehow emerging as a well-adjusted child with all this craziness.

Sofia is PeiJu and Sam's daughter.

Samuel Pott leading rehearsal with his daughter, Sofia.

Samuel Pott leading rehearsal with his daughter, Sofia.

courtesy of Samuel Pott

I’m sure she loves it. She looked so happy dancing around at the gala. Do you miss it? Dancing?

Every month I think to myself, “I should get back in shape and do at least one last hurrah on stage.”

Samuel Pott in Rehearsal.

Samuel Pott in Rehearsal.

Courtesy of Samuel Pott

But I also think it's one of those “the grass is always greener” things. I’ve had knee injuries since I was 25, and so much of my career has revolved around, “How can I make this happen with knees that are- ?"

Not cooperating.

Samuel Pott performing in his JERSEY CITY NUTCRACKER.

Samuel Pott performing in his JERSEY CITY NUTCRACKER.

Courtesy of Samuel Pott

What was it like when you told Janet and LaRue that you were stepping down?

Janet Eilber is Artistic Director and LaRue Allen is Executive Director of The Martha Graham Dance Company.

I always credit Janet and LaRue. I wish I was as even-keeled and kind as they are. I sat down with Janet and told her, “Look, I don't think I'm gonna come back next year.” She knew I had injuries and she simply said, “Let us know if you ever want to come back. Best of luck.” Our relationship has been great ever since. They've been extremely supportive of Nimbus. Every year they invite our whole school to a special open-rehearsal with the Graham company members, just for Nimbus. They always give us tickets for their seasons and they've written recommendation letters. I respect and admire both of them very much.

You spend a lot of time speaking in support of dance. Where does that passion for advocacy come from?

I don’t call it advocating. It’s just making sure that our message is heard. Jersey City has not developed an environment that’s conducive for the arts. Political figures here publicly declare how important the arts are all the time, but I don't think they really understand what kind of financial support, and support from city planning, and from the community, is necessary in order for the arts field to professionalize and become sustainable. Jersey City doesn’t have one truly established art organization – our museum closed in 2013 and now it is pretty barren. With Nimbus, we’re working with the city to help the community and to create stability.

2017 Nimbus Dance Works Gala Honoree, Matt Weinreich and his family.

2017 Nimbus Dance Works Gala Honoree, Matt Weinreich and his family.

Mickey Mathis

You’re good at marshalling support. The mayor, city council president, and real-estate developer Matt Weinreich show up and support the company.

The only reason I have any kind of leverage in those realms is that Nimbus is a mission-driven organization. So it’s not, “I’m Sam Pott and I deserve to be supported because I’m an artist and my artistic vision is important.” That does not resonate in the domains where I’m working. What resonates is, “This is important for our community. This is important for our youth. This is important for the development of culture, which is good for kids and it’s good for people. We're trying to be better people and we’re trying to build a better world.” It may sound superficial, but that's what carries weight at the political level and with certain types of funders. They listen because they know our words are backed up by real community support and our track record of work in the community for years.

A dance soloist who retired to found a school because he wanted to improve the community through dance? Samuel Pott, you’re quite the man.

NimbusPRESENTS: APAP 2018 SHOWCASE performs Saturday, January 13th 5pm-10pm & Sunday, January 14th 10am-3pm at Alvin Ailey American Dance Center, Studio 6B with performances by Nimbus Dance Works and select choreographers/companies.

The company opens its doors for Backstage Access @ Nimbus on Monday, January 15th at 7:30pm with wine & hors d’oeuvres by CoolVines.

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