Ms. Paige Amicon is very familiar with the dedication and commitment involved in pursuing an arts education.
After attending the UNC School of the Arts for ballet, she performed with internationally acclaimed choreographers and companies including Hélène Simoneau, Danielle Agami/Ate9 Dance Company, Brandon Whited/Santa Barbara Dance Theater, Yuval Sharon/Cleveland Orchestra, and the Merce Cunningham Trust. Ms. Amicon started at Orange County School of the Arts (OCSA) as an instructor and now brings her strong arts education background to her new role as the Director of the Ballet & Contemporary Dance Conservatory.
In celebration of our new director, we dive in to learn more about Ms. Amicon’s artistic background, passion for dance and performing, goals for the future, and more.
1. What made you fall in love with dance and the arts?
When I was young, a lot of my friends danced at the local dance studio. It started as a social thing, but very quickly turned into a passion of mine. I loved the music, the discipline and rigor, and the community. I went from one class a week to over 10 in just a few years. I don’t know if younger me would even believe all of the adventures and wonderful people this art form has brought into my life, but I don’t think she’d be surprised that I still love dancing, that was very clear from day one.
2. What drew you to OCSA initially? What makes OCSA unique to teach at?
I was introduced to OCSA by a former OCSA teacher, colleague and friend. I had expressed my interest in teaching more regularly and they said you have to check out OCSA! And well, it’s safe to say it was a great fit! OCSA is unique because of the type of community the school cultivates. Everyone, students and staff alike, share a passion for excellence. Regardless of the field, this school attracts students that are excited and hungry to dive into their studies.
3. What are you looking forward to this school year?
I’m really looking forward to diving headfirst into collaboration with the OCSA community! Having gone to an art school myself, I’m very inspired by the creative energy that flows through campus.
4. What inspires you and your artistic expression?
I’m a believer that inspiration can come from anywhere (if you let it): a sunset, a meal, an argument, a song lyric, a color, a gesture, a well organized bookshelf, you name it! I work to maintain a mentality that has an openness and availability to be inspired by my surroundings. I feel most free and expressive when I have the time and resources to investigate and realize the sparks of inspiration into a project.
5. What makes the Ballet & Contemporary Dance Conservatory unique to you?
To me, BCD is a unique conservatory because of our juxtaposition of Classical and Contemporary art forms. As a conservatory we are choosing to study, preserve and honor classical form while simultaneously researching and cultivating contemporary practices. It’s not always easy to balance both, but I am excited to continue to challenge the “old vs. new” mentality and there’s something really rich that emerges from comparing the two forms: finding and celebration overlaps and differences alike.
6. What made you interested in dance education?
Historically, dance as an art form has been passed down from generation to generation through community events, classes, rehearsals and performances. Dance is difficult to learn solely through reading, and while society now has more access to video than ever before, nothing can replace in-person instruction. I believe in dance education because without this exchange, between teacher and student, the knowledge and history of dance lineage will dissipate. As a dance educator, I hope to honor the legacy of my teachers and their teachers, while supporting and empowering my students and fostering their knowledge and appreciation of the art form.
7. As a former dance student who went to a coveted university BFA dance program, what is something you wish you could tell the younger version of yourself?
Right as I was leaving my BFA program, I learned an important lesson on how to prioritize “the work”. What does that mean? In context, we were working on a piece of Trisha Brown repertory that was heavily improvisational. Throughout the course of the process, my professor continually called on us to improvise in a way that served the work asking, “What does the space need? What does the piece need?” As a student, I was having a hard time understanding what the work needed while also trying to dance (remembering the score, not running into anyone, listening for audible cues, etc). I thought it was impossible until I realized that my internal dialogue was “too loud” for me to perceive what was happening in the space.
If I could go back and tell myself anything, it would be to not let my inner dialogue (or critic) and desire for perfection stop me from seeing the bigger picture. Conservatory training demands excellence and requires an intense attention to detail, but being an artist also asks people to zoom out in order to be inspired by and think critically about the world. In practice, reframing my thoughts made room for other senses, intuition and training to shine through; for me this felt like true presence. There’s something absolutely empowering about being able to look at “the work” (project, performance, program, etc) and ask what does “it’’ need and how do I want to meet that need?
8. What is your favorite part of dance and performing?
I love the mind-body connection that dance cultivates and requires. I love the way time stops when I’m in class, rehearsing or on stage and how I become so present in the moment. I love the agency training in the arts has given me, in all aspects of my life and am so grateful for the lifelong appreciation of discipline, creativity and community that I have found through being a dancer and performer.
9. What does Ballet & Contemporary Dance mean to you?
Ballet & Contemporary Dance - really all dance genres - celebrate the power of expression through movement.
10. What are some of your goals for the Ballet & Contemporary Dance Conservatory this year?
One of my main goals this year was to introduce some new performance opportunities. I’m interested in challenging the students creatively, to take what they learn in the classroom and apply it in various performance configurations: on film, on stage etc. This goal will be realized fully over the course of a few years, so stay tuned. :)
11. You have had some amazing opportunities as a dancer and performer professionally. What is something you learned in your professional experience that helps translate in your current position?
Dancing professionally demands a lot of an individual - you become your own business. As a younger dance professional, communication and organizational skills were key to stay on top of my work both in and out of the studio. Additionally, the ability to manage a training schedule once you leave the strict schedule of conservatory was instrumental to keep my body healthy to sustain such a physically demanding career. Lastly, the willingness to challenge myself to be better and dig deeper into a role, without prompting from a teacher or director, has created longevity in my career.
12. What can students in your conservatory look forward to this year?
Students can look forward to working hard and staying inspired, new performance opportunities, and continuing to strengthen the BCD Community.