A Teaching Artist Redefines the Typical Dance Residency

Connie Proccopio is one of those rare, unique artists who’s talents are not limited only to that of performing as an artist herself. Connie is also a gifted teaching artist and choreographer who truly understands the full spectrum of the impact the arts can have on literally everyone, and uses that understanding to change lives. I have had the privilege of not only being a co-worker with Connie teaching at a private studio and watching her work with students of all ages, but have also had the opportunity to experience her powerful choreography firsthand in the rehearsal process having her set repertory on me. Connie trains dancers of the highest quality and creates choreography for everyone from professional dancers, to students within the public school system and private studios, and most interestingly within the female prison system.

Connie was first introduced to the concept of educational dance residencies within the women’s prison system as a dancer with her former company. Not the typical dance residency, the artists had to be prepared for strict security measures, lock-downs, and other unexpected events. However, Connie found the opportunity to work with incarcerated women one of the most rewarding experiences of her career in the arts. The relationships and experiences she garnered during her time there, kept her returning on her own after her departure from the company. Her experiences gave her an understanding of the needs of the women, and she now has the freedom to develop and the tailor the program to meet those needs.

I asked her about her approach to working with the women. Did she simply allow them full freedom to create whatever inspired them, or did she treat them more as dancers with a structured environment? Her response was emphatic that structure was the key to the success of the program and they were very much treated as dancers. While this structured program does allow room for creativity and movement improvisation, Connie stresses that she does give them a formatted class (plies and all), develops a movement vocabulary, and guides their choices in the creation of repertory. The result she states, is very much a company of dancers, where she even delegates rehearsal responsibilities and a sort of rehearsal director. She notes that for many of these women, who range from those who will serve short sentences to those who will spend their life in prison, this is the only structure they’ve had in their life and in the seven years she has worked with many of them, they flourish under it.

The women have performed for their fellow inmates a variety of pieces and movement styles. Connie chooses not only contemporary popular music that is perhaps more relatable, but often introduces classical music. She remembers a particularly powerful piece set to Ava Maria. The women rehearse, practice and prepare on the their own as Connie is currently only able to hold residencies for a few days at most a month, all of which is on a volunteer basis.

The women have often expressed to Connie the importance of her program in their lives, as well as the important role she has come to play in their lives. Connie states that there is “a level of trust” between them and mutual respect that makes it an enjoyable and rewarding experience for her. Perhaps one of the aspects of her work I found most inspiring was her approach to choreography and her method of teaching. Whether working with public school children or incarcerated women, Connie creates choreography, workshops gesture studies or movement themes that are universal and utilized amongst all of her students. The fact that the same movement can resonate both with children, teens and incarcerated women of all backgrounds, ages and walks of life, is in my opinion, a testament to not only the movement she creates, but the impact of the teaching artist herself. Connie often makes connections between the way all of her students internalize the movement and finds herself working with her public school children thinking about the incarcerated women. She wonders how these women’s lives could have been different if maybe they had been given the structure and inspiration that an arts program can provide.

Connie is currently awaiting the results of a grant that would allow her to expand the program to allow her additional days and more teaching artists to better meet the growing needs of a vital program so cherished by those who are fortunate enough to participate. I hope to attend a residency with her in the future, and experience the program firsthand.