Wearing a simple black dress and a hair band, sitting on a chair covered by long drapes, Cathy Patterson was trying to keep everything together. Everyone was talking about her husband’s disease and death. Everyone looked at her. She was too heart-stricken to say anything. The audience was moved by her dance and the instrumental background music “On the Nature of Day Night” by Max Richter; they applauded rapturously for several minutes after the curtain fell.
Cathy gave her solo performance “Widow’s Chair” for the first time at New Works of Concert at KU five years ago. She was both the dancer and choreographer. Because of the success of her first solo, she then performed at the Lawrence Arts Center and Lawrence Ballet Theater, as well as in Kansas City twice. Then she sold the dance rights to a company for six months.
Patterson was born and grew up in Topeka, where she began to learn dance when she was five years old. She came to KU and graduated with a Bachelor’s degree in Human Biology because she wanted to be a doctor. She minored in dance because her advisor suggested that it was good for her resume; however, the more studies she had at KU, the more she realized that she loved dance. After graduation, Patterson worked as an assistant instructor at Topeka Dance Factory for 20 years, then moved out to Los Angles to learn some new technical steps, and then came back. Five years ago, she established Point B Dance Company in Lawrence.
Even though Patterson was not a dance major, her passion for dance made her a successful dancer and a businesswoman.
Patterson said even a simple understanding of development, marketing, general business practices and programming are key to the success of a professional dancer, choreographer, or administrator.
“I purchased the Dance Factory from the owner and that was where I really learned the ins and outs of business,” Patterson said.
Patterson said the previous owner and her husband helped her a lot in business operation. Her husband, Henry Patterson, is the owner of Topeka Harley-Davidson. She had worked there for several years to learn how to run a business.
“I had got all of that under my belt when I tried to do my own business.”
As many companies may experience, Patterson also met difficulties when she started her business. Funding was the first problem she faced. Few people came to Point B dance studio and paid for the classes which were the base of the company.
However, Patterson had some dance teachers that helped her strengthen and expand the dance studio. She met some of them through KU, and some of them used to be her students when they were young.
“I also met some of them at studio,” Patterson said. “They came here and took classes, and they also showed a lot of potential as a teacher and a lot of personality.”
Carly Malson is Patterson’s assistant as well as the corporate partner. She mainly focuses on hip-hop and jazz while Patterson works more on contemporary and ballet.
“We make a good combination because we are focusing on different types of dance. It gives a wide variety for everybody here,” Patterson said.
Deena Shawnburger, who graduated from KU with an accounting degree, is in charge of the program for younger children. Patterson saw her talent to choreograph and hired her as a dance teacher after the company opened.
There are six dance teachers in the company including Patterson, but five of them are not dance majors except David Matthew Rodriguez. Rodriguez was a dance major at KU and he is still working for KU Dance Company.
Point B dance company has two branches: the fall company, which is more technically demanding and concert-based dance, usually has around 15 to 18 performances every year, and the spring company, which is more commercial-based, has 20 to 25 performances.
Last weekend, they celebrated the fifth dance carnival for the spring company, choreographed by all the dance teachers. The fun and energetic show pleased the audience.
Point B Dance Company will have a fall show on Nov. 9 at the Lied Center. Patterson and Malson are the choreographers. Unlike spring carnival, the fall show always has a theme and the dances connect with each other.
They poll the audience and ask them if they feel connected with the piece, Patterson said. They will start intensive choreographies and practices in August.
For the next fall, they are stepping into the requirement for doing two levels of the company. Compared to Level No.2, Level No.1 will be more of a time commitment, spending 18 hours a week dancing.
“It is more for people who want to go out and pursue a dance career, so they need get into the studio more often,” Patterson said.
Patterson said she had a long-term goal to make her company a travelling dance company no matter how hard it is. Her diverse teachers and she are working toward their dream.
“It always takes time to build and it takes time to get your name there.” Patterson said. “But it is there. It’s our dream.”
Xiaoyin Wu: Why does your company target on young adults?
Cathy Patterson: They usually come in with a little more skill sides. So it’s easier for me to say they seem to have a better body wellness and understanding when I explain something anatomically or physiologically about movement, they understand better than kids do. So our expect is easier. And sometimes the kids are there because their parents want them to be there. But we know all of these people, because they are paying for themselves you know they wanna be here.
Wu: How many hours do you work out every day?
Patterson: probably an hour and I have dance in the evening. (Point B have dance classes at night) Teaching is a little different than dancing. You know when I am teaching I don’t dance a lot because I watch a lot. You know I demonstrate but I don’t dance for the whole hour like they do because I sit back and see if they are getting right done.
Wu: Where do you usually get idea to choreograph?
Patterson: Different choreographers are inspired by different thing. And I music… when I hear song I just have this feeling in me and I wanna dance to it. So I put it on and I choreograph to. That’s pretty much how I work. If I see a piece of art that inspires me, I will choreograph a piece around the piece of art too. But, that’s how I choreograph and come up. Usually I just listen to songs, listen to songs until I have the feeling that something I need choreograph to.
The Voice of Dance 