Shaun Keylock Company

Shaun Keylock Company: Dancing the past into the future

The Shaun Keylock Company navigates Covid-19 shutdowns in its new space while looking to Portland’s modern dance elders for direction.

The Shaun Keylock Company paves the way for the future by honoring the past with a revival of a suite of solos and duets that choreographer Gregg Bielemeier created between 1993 and 2002. 

Let’s flash back to just over a year ago, to let’s say…simpler times. It’s January 1, 2020, and most of us are riding that superficial, yet undeniably contagious new year high. We’re setting lofty goals and suiting up in the new exercise apparel we scored over the holidays and heading to the gym…or better yet, the dance studio. Keep contagious in mind.

For Portland-based choreographer Shaun Keylock, that January 1 wasn’t just another start to a new cycle around the sun: It was the day he opened the doors of his brand-new contemporary dance space, Shaun Keylock Studio, in the Albina neighborhood of North Portland. At the new studio, Keylock and company would be able to create and rehearse new dances, teach class, and produce community events for other community artists. 

We all know what happened next, because it happened to all of us. By the middle of March, we were all bunkered in our houses, downloading Zoom, debating whether gloves were necessary for a quick run to the grocery store, and clutching our toilet paper rolls with an intimacy that was (here it comes) UNPRECEDENTED.

The classes and rehearsals that had begun at the studio paused, and Keylock, along with all of the other studios around town, was forced to rethink what it meant to be a small business owner with a financial plan  based entirely upon humans gathering together in an enclosed space. Well, it’s been almost a full year now since Covid shook the framework of our lives, and we’ve all figured out how to navigate (for better or worse, more or less) through this rollercoaster of a time.

But what really happens when you’ve just opened a dance studio just as Covid-19 tramples through the world and you’ve got a company of nine eager dancers depending on rehearsals and performances for both income and mental stability? I’d been able to witness the studio’s growth throughout 2020, as I had been teaching a weekly contemporary class at the studio before the classes shut down, but I wanted to get the full picture from Shaun about what it’s been like behind the scenes as a new studio owner and director of SKC. I sat down to a Zoom chat with Keylock about what 2020 has meant for the studio and to learn about the company’s exciting new project: an intergenerational collaboration with local LGBTQ+ elders and master choreographers for a performance series reviving historic dance works for new audiences.

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Keylock company finds its footing

The contemporary dance company stages its first evening-length performance with work by founder Shaun Keylock and two others

Portland’s Shaun Keylock Company staged its first evening-length performance this past weekend at New Expressive Works, offering contemporary pieces that demonstrate the emerging company’s aesthetic and interests, as well as founder/artistic director Shaun Keylock’s curatorial practice, which combines technical rigor with historical references and a queer sensibility.

The bill featured two of Keylock’s pieces as well as work by Seattle’s Jordan
MacIntosh-Hougham and Portland’s Josie Moseley. The last time I saw Keylock’s work was June 2018, when he debuted Calamus for New Expressive Works’ 10th residency cycle. After that residency, Keylock continued to meditate on Calamus—a piece about what he calls “quiet queerness” that draws from Walt Whitman text and World War II-era oral historiesand created a second, more mature iteration of the work for this program.

Kristalyn Gill (from left), Shaun Keylock, Trevor Wilde, Jillian Hobbs, and Liane Burns wig out in Jordan MacIntosh-Hougham’s “Bad! Bad! Bad!” Photo by Jingzi Zhao.

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Is Portland the newest dance destination?

Recent transplants tell us why they moved to Portland to choreograph and perform  

By BETH WHELAN

The other day, I stumbled across the Oregonian article  “13 reasons to leave Portland and go back to where you came from.” Quick flashback to 14 months ago: Me, squeezing everything I owned into my car and trekking across the country to Portland, where my only local connection was a rented Craigslist room. In 2017, Oregon was rated the second most popular state for relocation, and Portlanders have been experiencing the effects of that migration for the past decade, including skyrocketing real-estate costs and traffic congestion. As one of the transplants, I hear you, Portland! There are drawbacks to everyone realizing what a gem this city is and abruptly moving here.

But there are benefits, too, including the growth of Portland’s dance community. I moved here because I felt I could have it all: a full life within and outside of dance in a right-sized city surrounded by natural beauty. Once I arrived, I was surprised to find so many recent transplants like myself; people with a passion to leave their creative mark on the place. Why pursue a dance career in Portland, though? I asked some of these new artists what brought them here, the differences they’ve found between Portland and the dance communities in their cities of origin, and what their experiences have been like. Here’s what they told me.

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