Joey Lorraine is a NYC based independent writer, director, and dance film curator who produces innovative dance media through film, video, and emerging technology. Her films have been showcased at the Hollywood Black Film Festival, Image Nation, Anthology FIlm Archives, and the African American Women in Cinema Film Festival, among others.
“Pigoen Hole” a short film about the Venus Hottentot, was awarded in the experimental category by the Black Filmmaker’s Hall of fame. Ms. Lorraine’s narrative short film “Cindy’s Day” exploring the complexity of domestic violence, received distribution from Shorts International, aka ShortsTV.
As a performer, she has danced as a soloist with the Morgan Scott Ballet (formerly Joffrey II) and showcased her own choreography at BAAD!, aka Bronx Academy of Arts and Dance and Balasole Dance. As a writer, she has written choreopoems that have been showcased in The Culture Project’s Women’s Director’s Series and Catholic Playwright’s Festival.
Lorraine has served as a teaching artist for Creative Outlet Dance Theatre of Brooklyn as well as Dance Theatre of Harlem’s Dancing Through Barriers. Ms. Lorraine’s formal dance training includes ballet, Horton, and Graham technique at Alvin Ailey’s Professional Training Program. She is also a certified Pilates and Gyrotonic instructor. She holds a BFA in Film & Television Production from New York University’s Tisch
School of the Arts. Currently, her most relevant project is Black Lives Rising Dance Film Festival, a live | virtual dance film festival that showcases the diversity of the Black experience through the art of dance on camera. www.joeylorraine.com | www.blrdancefilmfest.com
Can you point to one event that triggered your interest in your career?
Yes! My career was sparked by the opportunity to make my first dance film when I was a teenager. While in high school, I was studying film and television production at Career Education Center, also known as CEC, an affiliation of Denver Public Schools. CEC had 16 mm Bell and Howell film cameras, a rarity. For my final project I made my first short dance film, “Visions of Me” on 16 mm film. I did an in camera double exposure, an experimental technique, which allowed me to superimpose childhood photos/ memories over my dancing en pointe behind an open backdrop. My teacher, Robert Nemman, managed to get the film screened for a showcase at a local independent theatre called “The Bug.” When I was a freshman at NYU I ended up getting $50 from that film and thought that was the coolest thing ever. Decades later, the memory and feeling of elation is still palpable.
What about this career choice did you find most appealing?
Professional dance training requires an incredibly demanding lifestyle and abundance of resources, especially ballet training, which I was most passionate about, especially dancing on pointe. I remember having dreams about what it would be like when I finally got good enough to be “en pointe”. When I made “Visions of Me” it gave me the opportunity to create myself as a dancer and show myself as the dancer I yearned to be but had not yet become…that’s the power of film. Even though I barely had enough training to be in pointe shoes, the framing and shot design created an imaginary aesthetic that brought my dancing to life in a whole new way that the stage could not – such that I could look like and therefore “be” a ballerina. Film awakens the imagination and brings it to life, in this way dance filmmaking is truly magical.
What steps did you take to begin your education or training?
As an only child, I was blessed with parents who had me in a slew of creative activities. I was in the Younger Generation Players (a youth musical theater group similar to Glee) and took ballet and modern dance classes, piano lessons, and flute lessons. I continued my creative journey in high school via the film and video production program at Career Education Center, and thanks to Denver’s Scholars and Seniors program, I was able to take college courses at the University of Colorado at Denver while I was a senior in high school. I chose Philosophy and Mass Media Studies. Cheryl Pawlowski taught the media studies course. At the time she was pursuing a PHD at NYU and studying under the famed cultural critic and media theorist, Neil Postman. I felt it was those courses/film experience that shaped my professional future, ultimately leading to my acceptance into NYU’s Film and Television program at Tisch School of the Arts.
Along the way, were people encouraging or discouraging?
Admittedly, I’ve been challenged by several discouraging people, but I’ve had enough experiences with encouraging people to tip the balance toward the good. Looking back, I realize many of the discouraging people were speaking and/or acting out of naiveness and or pure ignorance. Sometimes people mean the best and don’t realize how they’re coming across.
I think artists tend to be more sensitive than the average person. Like children, artists yearn for validation, and the creative journey can often feel lonely and isolating. Over time, I’ve learned the power of discretion. My experience has taught me that it’s healthy and helpful to reach out to others who have achieved success in a similar creative realm. There have been so many people who have encouraged me and continue to guide me. Kelly Hargraves, director of Dance Camera West, has been incredibly helpful. Terra Renee, founder of AAWIC, ie. African American Women in Cinema, and Gregory Gates, Co- Founder of ImageNation, have also been incredibly helpful and supportive of my journey.
Did you ever doubt your decision and attempt a career change?
No. Actually, quite the opposite. From my twenties up until my mid forties I supplemented my career as a professional freelance dancer in NYC with teaching Pilates/ Gyrotonics, and serving as a dance teaching artist for Dance Theatre of Harlem and other arts organizations. I always knew however, that toward mid life I would pivot away from the fitness industry and return to media/film and t.v. The transition has been more challenging than I expected. New York City is expensive; it’s competitive, and one has to make a living, but I’ve always lived a modest life, materially. My professional direction and focus toward integrating my passion for dance with filmmaking has always been clear. Yes, there are times when the whole process feels exhausting and I fantasize about living a “normal life,” yet I know myself well enough to know my creative journey will never end and be forever evolving.
When did your career reach a tipping point?
My career reached a tipping point after my mother’s death in 2010. I re-evaluated my dance career. I had been a soloist with the Morgan Scott Ballet and had been feeling a bit lost since I decided to leave the company. My mother’s death changed my perspective, and I started dancing more for myself, as opposed to auditioning for choreographers and dance companies. Receiving my first grant marked a right of passage for me as I was growing weary of rejections. I can honestly say perseverance literally does pay off. When I received that modest grant, I realized I wanted to make the most of the funds by creating something that would go beyond myself and have a lasting impact – something that could spearhead a project that had strong legs and would keep me going for years ahead. Starting my festival, Black Lives Rising Dance Film Festival, in many ways is a tribute to my mother, and forced me to think long term and crystallize my creative goals and vision. Now I am at the beginning of a new chapter as I’m five years into running my film festival, and hungry to introduce my own dance film work to the creative market place.
Can you describe a challenge you had to overcome?
A huge challenge I had to overcome as a dancer was not having great “turn out” ie. flexibility in my hip joints, and not picking up choreography quickly, not to mention I didn’t start training seriously until after college. Although I was usually older than other dancers I was studying with, I was the least experienced and was a slow study. In short, I wasn’t a natural. I had to really work at it and want it 100%. If I hadn’t been so obsessively passionate I wouldn’t have reached the level of excellence as a performer, and I wouldn’t have had the technical proficiency required to perform ballet on a professional level.
What single skill has proven to be most useful?
For me, it’s definitely a “soft skill.” Over time, I’ve realized I have a knack for helping talented people shine while nurturing them in the fold of my vision…last year I was very blessed to have brought a young talented dancer, Jalyn Postadan, on board as a festival ambassador. She recently graduated from Fordham University’s Alvin Ailey Dance Program and has just been accepted into Ailey II. It’s a real honor to have her involved and helping shape the festival’s culture, bringing in the younger generation into my vision. Embracing/showcasing the gifts/talents of others that they themselves may not see has definitely been helpful to me.
What accomplishment are you most proud of?
Wow…there are many so it’s hard to pinpoint just one. The accomplishments I’m most proud of are spiritual in nature. That said, I’m very proud of completing a short dance documentary “Harlem’s Dancing Queen, The Making of the Black Nutcracker” featuring Robin Williams, founder of The Uptown Dance Academy, in East Harlem. I had started the film fresh out of college, and I was devastated when I didn’t get a grant from the National Black Programming Consortium, (now Black Public Media) so I shelved the film. Years later, I had the gnawing feeling that I hadn’t gone all the way with it and needed to complete it, so I ended up doing my own independent fundraiser (this was before crowdfunds came on the scene) and I pulled through and completed the documentary anyway. Finally completing that film has given me lasting peace and satisfaction.
Any advice on others entering your profession?
My journey hasn’t been so much of a profession as a calling. Have faith. Trusting in God, or a higher power, is tremendously helpful because you will need inner strength when times get tough, as they inevitably will. If you don’t already pray, give it a try and take notice of how your life changes. Know that at times it’s natural to feel uncertain or despondent. Surround yourself with other likeminded creatives and close friends/family to help build your faith. Community and faith are so central to staying grounded.
I happen to live across the street from my church, Our Lady of Mount Carmel, which happens to be particularly holy as the only canonically designated Pontifical Shrine in the U.S. (issued by Pope Leo XIII in 1903). Having a spiritual practice is important. As a practicing Catholic, I find that the closer my relationship is with Jesus Christ, the more fulfilling my life becomes. Just as in dance or other professions, we can always rise to a higher level, and the same applies to spirituality. Having a strong spiritual life naturally breathes new life into everything one does, especially professionally. I’m looking forward to delving into the spiritual exercises of Saint Ignatius…some say he created a spiritual technology that positively scales- what could be better than that?
For more information, go to the website for Joey Lorraine and Bird Dance Film Festival.
Photo Credit: Carolyn Walkup
