Miguel Gutierrez’s 24-Hour Dance of Solidarity
by Claudia La Rocco, The New York Times, December 29, 2008
by Claudia La Rocco, The New York Times, December 29, 2008
Tuesday, December 30, 2008
Yes, we can can...yes, we can can!
dance/metroDC’s inaugural Barack buttons
from A Time to Dance blog
from A Time to Dance blog
Dance dance evolution
Dispatches from
Dancer-choreographer Jill Sigman (of jill sigman/thinkdance) offers insights into the wild, unruly, beautiful thing that is dance in its development through the wild, unruly, beautiful things that are body and mind. Follow her blog's reports on her work-in-progress, ZsaZsaLand, and other matters, here.
Dancer-choreographer Jill Sigman (of jill sigman/thinkdance) offers insights into the wild, unruly, beautiful thing that is dance in its development through the wild, unruly, beautiful things that are body and mind. Follow her blog's reports on her work-in-progress, ZsaZsaLand, and other matters, here.
Monday, December 29, 2008
The Turning World (81)
Former Bankers Turn to a Creative Plan B
by Hannah Seligson, The New York Times, December 28, 2008
Question: Does it take a full-on economic crisis in America for the arts to finally get the kind of respect and boost they need? Just wondering...
by Hannah Seligson, The New York Times, December 28, 2008
Question: Does it take a full-on economic crisis in America for the arts to finally get the kind of respect and boost they need? Just wondering...
Saturday, December 27, 2008
The Turning World (80)
The Price of Silence
This type of music video has become something of a cliché. However, this one is the most thrilling (musically and inclusively) and important one I've seen. Don't miss it.
I loved seeing some of my favorite artists--Angelique Kidjo, Hugh Masekela,
Rachid Taha and Natacha Atlas.
Wishing all of us warmth, peace and justice in 2009.
Love,
Eva :-)
This type of music video has become something of a cliché. However, this one is the most thrilling (musically and inclusively) and important one I've seen. Don't miss it.
I loved seeing some of my favorite artists--Angelique Kidjo, Hugh Masekela,
Rachid Taha and Natacha Atlas.
Wishing all of us warmth, peace and justice in 2009.
Love,
Eva :-)
The Turning World (79)
Bjork, Icelandic Singer and…Venture Capitalist?
by Claire Cain Miller, The New York Times, December 23, 2008
by Claire Cain Miller, The New York Times, December 23, 2008
Secretary of Culture?
Put Culture in the Cabinet
by William R. Ferris, The New York Times, December 26, 2008
by William R. Ferris, The New York Times, December 26, 2008
Friday, December 26, 2008
Two great artists pass: Kitt and Pinter
Eartha Kitt, Singer With a Come-Hither Persona, Dies at 81
by Rob Hoerburger, The New York Times, December 25, 2008
Harold Pinter, Playwright of the Anxious Pause, Dies at 78
by Mel Gussow and Ben Brantley, The New York Times, December 25, 2008
by Rob Hoerburger, The New York Times, December 25, 2008
Harold Pinter, Playwright of the Anxious Pause, Dies at 78
by Mel Gussow and Ben Brantley, The New York Times, December 25, 2008
Tuesday, December 23, 2008
It's your turn!
If you enjoy InfiniteBody blog and Body and Soul podcast, here are some ways in which you can show your love:
I wish you a delicious holiday season and every blessing in the coming year!
Eva Yaa Asantewaa
- Write a comment: Just click on the "0 comments" link at the bottom of the post you've read, and you'll be taken to a page where you can leave your thoughts. Comments are moderated and must be approved before they are posted.
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- Sharing is caring: Sharing InfiniteBody and Body and Soul with your social networks is cool, too. Facebook (I love Facebook!), MySpace, StumbleUpon, LinkedIn, Digg or what have you. Let your 2,571 closest friends know about what you're enjoying here. Just remember that original material posted here (e.g., reviews, commentary, my own photos) is under my copyright. That means, if you want to reprint or repost anything, ask permission first and, if granted permission, don't neglect to give proper credit, source and copyright information. However, simply posting a link back to the original material, with a note of recommendation, is always, always welcome!
- Link back from your own Web site or blog (add IB and B&S to your blog roll): 'Nuff said. Just do it. And recommend InfiniteBody and Body and Soul to other folks who have relevant sites and blogs.
I wish you a delicious holiday season and every blessing in the coming year!
Eva Yaa Asantewaa
The Turning World (78)
Rick Warren is an insulting choice
by Katha Pollitt, Los Angeles Times, December 22, 2008
by Katha Pollitt, Los Angeles Times, December 22, 2008
Monday, December 22, 2008
Benjamin Ford Asriel: Body and Soul podcast
As the arts world struggles to cope with the global economic crisis, dancer-choreographer Benjamin Ford Asriel outlines his strategy of using the Internet to open the process of creating new work to his donors. Learn more at Project Paper Trail.
Benjamin Ford Asriel bio
(c)2008, Eva Yaa Asantewaa
MP3 File
Benjamin Ford Asriel bio
(c)2008, Eva Yaa Asantewaa
MP3 File
Program Notes: Upcoming on "Body and Soul"
As the arts world struggles to cope with the global economic crisis, dancer-choreographer Benjamin Ford Asriel outlines his strategy of using the Internet to open the process of creating new work to his donors. Learn more at Project Paper Trail.
Benjamin Ford Asriel bio
Benjamin Ford Asriel bio
Sunday, December 21, 2008
Djoniba Centre to close
[Note: I have just received the following announcement from the Djoniba Dance & Drum Centre. These are very tough times for most dance professionals and institutions. If you can manage to help in any way, please visit the Centre's site for more information.]
Djoniba Dance & Drum Centre, the legendary New York City multi-ethnic dance school and not-for-profit organization, is closing its doors on December 31st, after 15 years of "exceptional contributions to our city" (New York City Council proclamation). Hit by the economic crisis--with fewer students attending classes -- and a major rent increase, DDDC has no other option but to sadly shut down.
The immediate result would be 55 teachers and drummers losing their jobs. Hundreds of children from lower income families losing the opportunity to receive free dance scholarships, along with thousands of adult students losing their community workout, a place to release stress and convene "Since its establishment, Djoniba Dance & Drum Centre-one of New York City's largest minority-owned cultural centers--has dedicated itself to connecting men and women of all ages and ethnicities through the arts.
In a letter of June 2007, Mayor Bloomberg wrote, "As we look back on the incredible accomplishments of DDDC's 15 years, we also look forward to even greater achievements on the horizon."
"I am confident that the New York community and government officials, who understand the profound impact that our philosophy and ethnic dance taught in our institution has on so many lives, will rally up and help us continue our mission of providing health, fitness, and harmony amongst New Yorkers" says the founder Djoniba Mouflet.
How you can help
DDDC needs funds for a new home and is urgently seeking aid. You can make donations online or by mail. Contributions will allow for construction, fundraising, architectural design, web design, building materials, office furniture and equipment. Who knows how long this economic climate will last--but what kind of city will be left when it's over, if we allow our community owned cultural institutions to close?
About Djoniba Dance & Drum Centre
Since its inception in 1992, as a not-for-profit cultural and charitable organization, the Djoniba Dance and Drum Centre has strived to celebrate our global diversity through world dance and music and is dedicated to bridging the gap between all ages, ethnic groups, and cultures through dance and music. The Centre is one of New York City's largest minority-owned dance studio, and the only cultural center in the world specializing in multi-ethnic dance and drum. The Centre serves thousands of adults and children annually, has a roster of 35 master teachers dancers and drummers, who teach more than 100 dance classes per week in more than 30 different styles of movement and music from around the world.
Founded and directed by Djoniba Mouflet, the internationally-acclaimed drummer, dancer, teacher, performer and choreographer, the Centre houses three dance studios, a children's program and an adult evening program. DDDC has become a popular cultural and fitness spot, attended by celebrities like Tyra Banks, Julia Roberts, Brook Shields and featured in several magazines, newspapers and major TV shows.
Awarded "Best New York Dance School" several years in a row by The Village Voice, New York Magazine, New York Press and AM New York, DDDC has also been recognized by city officials-including Mayor Bloomberg, The New York City Council, Manhattan Borough president Scott M. Stringer, as well as New York State Assembly N. Godfrey for its outstanding service to the New York community.
"I applaud Djoniba Dance & Drum Centre for your strong commitment to the culture and community." (Richard N. Godfrey, New York State Assembly)
"It is the tradition and custom of the New York City Council to honor its most distinguished citizens, and today we are pleased to recognize Djoniba Dance & Drum Centre, Inc for its exceptional contributions to our City. Today, we honor Djoniba Dance & Drum Centre, Inc., an organization that has distinguished itself in service to the community: is has enriched us with its presence and achievements and is worthy of the esteem of all New Yorkers." (Proclamation by The Council of the City of New York)
Djoniba Dance & Drum Centre, the legendary New York City multi-ethnic dance school and not-for-profit organization, is closing its doors on December 31st, after 15 years of "exceptional contributions to our city" (New York City Council proclamation). Hit by the economic crisis--with fewer students attending classes -- and a major rent increase, DDDC has no other option but to sadly shut down.
The immediate result would be 55 teachers and drummers losing their jobs. Hundreds of children from lower income families losing the opportunity to receive free dance scholarships, along with thousands of adult students losing their community workout, a place to release stress and convene "Since its establishment, Djoniba Dance & Drum Centre-one of New York City's largest minority-owned cultural centers--has dedicated itself to connecting men and women of all ages and ethnicities through the arts.
In a letter of June 2007, Mayor Bloomberg wrote, "As we look back on the incredible accomplishments of DDDC's 15 years, we also look forward to even greater achievements on the horizon."
"I am confident that the New York community and government officials, who understand the profound impact that our philosophy and ethnic dance taught in our institution has on so many lives, will rally up and help us continue our mission of providing health, fitness, and harmony amongst New Yorkers" says the founder Djoniba Mouflet.
How you can help
DDDC needs funds for a new home and is urgently seeking aid. You can make donations online or by mail. Contributions will allow for construction, fundraising, architectural design, web design, building materials, office furniture and equipment. Who knows how long this economic climate will last--but what kind of city will be left when it's over, if we allow our community owned cultural institutions to close?
About Djoniba Dance & Drum Centre
Since its inception in 1992, as a not-for-profit cultural and charitable organization, the Djoniba Dance and Drum Centre has strived to celebrate our global diversity through world dance and music and is dedicated to bridging the gap between all ages, ethnic groups, and cultures through dance and music. The Centre is one of New York City's largest minority-owned dance studio, and the only cultural center in the world specializing in multi-ethnic dance and drum. The Centre serves thousands of adults and children annually, has a roster of 35 master teachers dancers and drummers, who teach more than 100 dance classes per week in more than 30 different styles of movement and music from around the world.
Founded and directed by Djoniba Mouflet, the internationally-acclaimed drummer, dancer, teacher, performer and choreographer, the Centre houses three dance studios, a children's program and an adult evening program. DDDC has become a popular cultural and fitness spot, attended by celebrities like Tyra Banks, Julia Roberts, Brook Shields and featured in several magazines, newspapers and major TV shows.
Awarded "Best New York Dance School" several years in a row by The Village Voice, New York Magazine, New York Press and AM New York, DDDC has also been recognized by city officials-including Mayor Bloomberg, The New York City Council, Manhattan Borough president Scott M. Stringer, as well as New York State Assembly N. Godfrey for its outstanding service to the New York community.
"I applaud Djoniba Dance & Drum Centre for your strong commitment to the culture and community." (Richard N. Godfrey, New York State Assembly)
"It is the tradition and custom of the New York City Council to honor its most distinguished citizens, and today we are pleased to recognize Djoniba Dance & Drum Centre, Inc for its exceptional contributions to our City. Today, we honor Djoniba Dance & Drum Centre, Inc., an organization that has distinguished itself in service to the community: is has enriched us with its presence and achievements and is worthy of the esteem of all New Yorkers." (Proclamation by The Council of the City of New York)
Saturday, December 20, 2008
"Nutcracker" sales down
Ballet Companies Report Slower Sales for ‘The Nutcracker’
by Daniel J. Wakin, The New York Times, December 19, 2008
by Daniel J. Wakin, The New York Times, December 19, 2008
Friday, December 19, 2008
Zahava: Body and Soul podcast
Zahava's mission encompasses not only dance as aesthetic expression but also its role in individual and societal healing. She writes, "My body has led me to teachers, rhythms, techniques, abandon, containment, ecstasy, erotic languid prayers, rituals geometry, discipline, storytelling and healing. Through these journeys I have found spirit guides, competition, self criticism, deep reverence, the practice of life in uncomfortable and pleasurable tempos." In this conversation, Zahava discusses her practice as a dancer and her understanding of how racism gets played out in our relationship with our bodies, the source of discord and of peace.
For a bio of Zahava and more information on her work, visit:
Love Making Dances
White Folks Soul--by Any Dance Necessary
(c)2008, Eva Yaa Asantewaa
MP3 File
For a bio of Zahava and more information on her work, visit:
Love Making Dances
White Folks Soul--by Any Dance Necessary
(c)2008, Eva Yaa Asantewaa
MP3 File
Program Notes: Upcoming on "Body and Soul"
Zahava's mission encompasses not only dance as aesthetic expression but also its role in individual and societal healing. She writes, "My body has led me to teachers, rhythms, techniques, abandon, containment, ecstasy, erotic languid prayers, rituals geometry, discipline, storytelling and healing. Through these journeys I have found spirit guides, competition, self criticism, deep reverence, the practice of life in uncomfortable and pleasurable tempos." In this conversation, Zahava discusses her practice as a dancer and her understanding of how racism gets played out in our relationship with our bodies, the source of discord and of peace.
For a bio of Zahava and more information on her work, visit:
Love Making Dances
White Folks Soul--by Any Dance Necessary
For a bio of Zahava and more information on her work, visit:
Love Making Dances
White Folks Soul--by Any Dance Necessary
Thursday, December 18, 2008
Bausch's India-infused soul
Last night, I saw Tanztheater Wuppertal Pina Bausch's Bamboo Blues at Brooklyn Academy of Music. For the most part, it's pure and relentless eye-candy, driven by a personal feeling about India--atmospheric, romantic, seductive, mesmeric. The piece runs two hours and twenty minutes--a considerable time investment. The first half's visual and movement motifs, although gorgeous, look so repetitious and indulgent and shallow that they do not inspire confidence in the whole.
But I stayed put.
I realized that Bausch was giving us something deliberate and genuine, something of herself, and we could make of it what we wished. All her choices were valid and apt. Bamboo Blues was a dreamy, languourous walk and a delirious gallop through her interior experience of India.
("Train comes, I don't know it's destination," sing the Sugababes in the show's soundtrack, "It's a one way ticket to a madman's situation.")
By the second half, I'd either found enough to draw me in--especially the music, and extra-especially my beloved 4Hero, and captivating dancing by Shantala Shivalingappa and others--or any resistance had been steadily worn down. Yes, by that point, I think I had become engulfed by all the billowing silk curtains of Bausch's mind.
Bamboo Blues continues at the BAM Gilman Opera House through Saturday evening.
Information and ticketing
And here's a review by dance blogger Evan on Dancing Perfectly Free blog.
But I stayed put.
I realized that Bausch was giving us something deliberate and genuine, something of herself, and we could make of it what we wished. All her choices were valid and apt. Bamboo Blues was a dreamy, languourous walk and a delirious gallop through her interior experience of India.
("Train comes, I don't know it's destination," sing the Sugababes in the show's soundtrack, "It's a one way ticket to a madman's situation.")
By the second half, I'd either found enough to draw me in--especially the music, and extra-especially my beloved 4Hero, and captivating dancing by Shantala Shivalingappa and others--or any resistance had been steadily worn down. Yes, by that point, I think I had become engulfed by all the billowing silk curtains of Bausch's mind.
Bamboo Blues continues at the BAM Gilman Opera House through Saturday evening.
Information and ticketing
And here's a review by dance blogger Evan on Dancing Perfectly Free blog.
Wednesday, December 17, 2008
Re-energize for the New Year!
[Please note: The registration/information contact number originally submitted with this announcement was incorrect. See below for the correct number.]
Dancer-choreographer Laura Shapiro is offering a new six-session workshop, De-Stress and Center. Start the New Year with clear focus and renewed energy!
Classes will draw from several modalities such as chi kung and tai chi, experiential anatomy and developmental movement, creative movement, and meditation. You will use breath and bone as well as muscle to cultivate resilience and strength of body, mind and spirit. Benefits will include improved balance and coordination, increased flexibility and a more relaxed nervous system, generating feelings of peace, harmony and well-being.
By attending the workshops you can expect to:
· Strengthen your body as well as mind
· Increase your balance, coordination, and flexibility
· Become a more relaxed person
KIMA Center for Physiotherapy and Wellness
14 West 23rd Street, 2nd Floor
212-686-3101
Fee:
Single class, $25//bring a friend for $20 per person//6-class series, $120
Register for individual classes or take the full six-session series for a deeper experience.
Schedule:
Six Saturday sessions, January 10 to February 14 (10:30am-11:30am)
For registration or more information, please call 212-946-1537.
Laura Shapiro, a dancer/choreographer with over three decades of experience teaching people of all ages and levels of fitness. Her recent work includes teaching for Fu-Yu International Foundation, Dorot Wellness Program for Seniors, Center for Kinesthetic Education (children and adults), and the McBurney YMCA (adults 20s-80s). Her credentials include permission from her chi kung teacher to teach; certification in IM=X Pilates Floor Work and Tai Chi for Arthritis; and teaching dance as a Visiting Artist at several universities in the U.S. and abroad.
Remembering "Trying Times"
On top of everything else I enjoy about Trying Times 1982 (remembered)--David Gordon's reimagined reconstruction, now at Dance Theater Workshop--I love the effortlessly-beautiful racial diversity of the current cast, the company plus dance students from CalArts. I felt so nourished just by the site of that intelligent and graceful cast. The work itself--a kaleidoscope of refined visual and movement design spliced with a cool, witty text--clears the palate and refreshes the head. And any opportunity to see the subtle, elegant and iconic Valda Setterfield in action should be taken.
Seeing many empty seats at dance shows and theater this season makes me depressed. Your last few chances to see Gordon's show are tonight through Saturday.
Seeing many empty seats at dance shows and theater this season makes me depressed. Your last few chances to see Gordon's show are tonight through Saturday.
"Black Watch" closing Sunday
Farewell to one of the finest productions I've seen this season.
In ‘Black Watch,’ a Band of Brothers With Camaraderie Forged on the Boards
by Patrick Healy, The New York Times, December 16, 2008
My commentary on "Black Watch"
In ‘Black Watch,’ a Band of Brothers With Camaraderie Forged on the Boards
by Patrick Healy, The New York Times, December 16, 2008
My commentary on "Black Watch"
Sunday, December 14, 2008
Bigonzetti and Ailey go for it
Damn. Let's go for it. Why not?That's Baroque. And that's Festa Barocco—a sexy hunk of Handel-powered fabulousness choreographed by Mauro Bigonzetti for the Alvin Ailey American Dance Theater. The entire thirty-one-member AAADT.
Not enough? Bigonzetti has put exquisite Hope Boykin in the lead as a Puckish character who introduces and weaves throughout the dance, stirring up love and mediating trouble. She has never looked or danced better.
In the ensemble segments, every square inch of stage space bursts with life and color in a festa of well-honed bodies, steely technique and passionate expressivity. Men and women wear the same sweeping, swirling satin skirts, designed by Marc Happel, each costume a sliver of a generously-enhanced rainbow, heightened and sculpted by Carlo Cerri's lighting. Bigonzetti cites the dramatic Caravaggio as a major influence on Festa Barocco's look and staging, and his choreography employs yet wisely redirects familiar Ailey strengths in unexpected ways, newly challenging and revitalizing these master performers.
Ailey is golden
Alvin Ailey American Dance Theater at City Center through January 4
Not enough? Bigonzetti has put exquisite Hope Boykin in the lead as a Puckish character who introduces and weaves throughout the dance, stirring up love and mediating trouble. She has never looked or danced better.
In the ensemble segments, every square inch of stage space bursts with life and color in a festa of well-honed bodies, steely technique and passionate expressivity. Men and women wear the same sweeping, swirling satin skirts, designed by Marc Happel, each costume a sliver of a generously-enhanced rainbow, heightened and sculpted by Carlo Cerri's lighting. Bigonzetti cites the dramatic Caravaggio as a major influence on Festa Barocco's look and staging, and his choreography employs yet wisely redirects familiar Ailey strengths in unexpected ways, newly challenging and revitalizing these master performers.
Besides Boykin's shooting star, keep your eyes peeled for exceptional duets (Gwynenn Taylor Jones and Clifton Brown; Linda Celeste Sims and Glenn Allen Sims) and a brisk, incandescent solo (Matthew Rushing). And when the company is assembled onstage...wow!
Ailey is golden
Alvin Ailey American Dance Theater at City Center through January 4
Saturday, December 13, 2008
Annie-B Parson: Body and Soul podcast
Annie-B Parson--co-founder and choreographer of the Bessie Award-winning Big Dance Theater--joins forces with the exciting post-classical string quartet ETHEL and dancer Elizabeth DeMent for a site-specific production in the Winter Garden at World Financial Center. "Wait for Green"--ETHEL's third Winter Solstice concert at WFC--premieres on Friday, December 19, in two free performances--12:30pm and 7pm.
"Wait for Green" has been commissioned by arts>World Financial Center for its 20th Anniversary celebration.
(c)2008,Eva Yaa Asantewaa
MP3 File
"Wait for Green" has been commissioned by arts>World Financial Center for its 20th Anniversary celebration.
(c)2008,Eva Yaa Asantewaa
MP3 File
Program Notes: Upcoming on "Body and Soul"
Annie-B Parson--co-founder and choreographer of the Bessie Award-winning Big Dance Theater--joins forces with the exciting post-classical string quartet ETHEL and dancer Elizabeth DeMent for a site-specific production in the Winter Garden at World Financial Center. Wait for Green--ETHEL's third Winter Solstice concert at WFC--premieres on Friday, December 19, in two free performances, 12:30pm and 7pm. Wait for Green has been commissioned by arts>World Financial Center for its 20th Anniversary celebration. Get further information here.
ETHEL
Big Dance Theater
arts>WorldFinancial Center
Annie-B Parson founded OBIE- and Bessie Award-winning Big Dance Theater in 1991. She has created 14 pieces for the company, touring the work both nationally and internationally to such venues as Walker Art Center, Museum of Contemporary Art, Chicago, The Spoleto Festival USA, Jacob's Pillow Dance Festival, and American Dance Festival, as well as international festivals and venues in the Netherlands, France, Italy and Germany. She is currently working with David Byrne on his world tour and with the OtherShore dance company as well as preparing a premiere for Lyon with her company. In New York City, her work has been presented at Dance Theater Workshop, City Center, The Kitchen, Classic Stage Company, and the Guggenheim Works & Process Series. She was honored with a Guggenheim Fellowship in 2007 and is working on a book about octagenarian, off-the-radar ballet teachers.
ETHEL is comprised of four world-class, Juilliard-trained composer/musicians: Cornelius Dufallo (violin), Ralph Farris (viola), Dorothy Lawson (cello), and Mary Rowell (violin). Described as "the fiercest string quartet this side of hell," and "the most bad-ass quartet around," ETHEL has performed over 300 shows in ten different countries as a favorite at countless festivals and venues around the globe. ETHEL's most recent CD release--Light (Cantaloupe Records)--was #3 on Amazon.com's Best of 2006: Top Classical Editors' Picks. As composers, the members of ETHEL draw on their singular and collective experience with a broad range of genres, styles and influences--from classical to bluegrass, from jazz to rock.
ETHEL
Big Dance Theater
arts>WorldFinancial Center
Annie-B Parson founded OBIE- and Bessie Award-winning Big Dance Theater in 1991. She has created 14 pieces for the company, touring the work both nationally and internationally to such venues as Walker Art Center, Museum of Contemporary Art, Chicago, The Spoleto Festival USA, Jacob's Pillow Dance Festival, and American Dance Festival, as well as international festivals and venues in the Netherlands, France, Italy and Germany. She is currently working with David Byrne on his world tour and with the OtherShore dance company as well as preparing a premiere for Lyon with her company. In New York City, her work has been presented at Dance Theater Workshop, City Center, The Kitchen, Classic Stage Company, and the Guggenheim Works & Process Series. She was honored with a Guggenheim Fellowship in 2007 and is working on a book about octagenarian, off-the-radar ballet teachers.
ETHEL is comprised of four world-class, Juilliard-trained composer/musicians: Cornelius Dufallo (violin), Ralph Farris (viola), Dorothy Lawson (cello), and Mary Rowell (violin). Described as "the fiercest string quartet this side of hell," and "the most bad-ass quartet around," ETHEL has performed over 300 shows in ten different countries as a favorite at countless festivals and venues around the globe. ETHEL's most recent CD release--Light (Cantaloupe Records)--was #3 on Amazon.com's Best of 2006: Top Classical Editors' Picks. As composers, the members of ETHEL draw on their singular and collective experience with a broad range of genres, styles and influences--from classical to bluegrass, from jazz to rock.
LeeSaar at La MaMa
There should be more butts in the seats for LeeSaar The Company--at The Annex Theatre at La MaMa, continuing tonight at 7:30pm and ending with a 5pm peformance on Sunday. If you don't go, you're missing One day, a duet with Taiwan-born Jye-Hwei Lin and Hsin-Yi Hsiang--intense, exacting channels of an intense, exacting vision, two performers who clearly have inspired Lee Sher and Saar Harari to sharpen all their tools. Both women are fairly recent recruits to the company; Lin's performance in the company's March 2008 work, Geisha, was one of the highlights of last season. The evening includes Little Island, a brief play by and featuring Sher as a woman whose isolation--amid the pleasantness of an all-too-quiet house--compels her to reach out in odd and sometimes amusing ways.
Information and tickets at La MaMa
Information and tickets at La MaMa
Friday, December 12, 2008
Performing freedom
[Note: The following information contains an updated list of participating artists, current as of December 24.]
On December 31, artists across the nation will perform freedom of information 2008: a 24-hour performance/protest/ritual, initiated by choreographer Miguel Gutierrez in response to the U.S.-led wars in Afghanistan and Iraq. Participants will engage in continuous movement improvisation performed while blindfolded and ear-plugged, which is intended as a contemplative act of solidarity with those displaced by the wars.
This action takes place over the last 24 hours of 2008, from midnight to midnight of December 31st. It ends with the ringing in of the New Year. At present, there are 29 artists participating in freedom of information 2008. Each artist will perform the action in her/his respective state and during the 24 hours that correspond to December 31st in his or her time zone. Miguel Gutierrez originally performed freedom of information alone on December 31, 2001, in response to the U.S. invasion of Afghanistan. This time, inviting artists from across the country creates a nationwide, synchronous event.
freedom of information 2008 involves staying in one room for the duration of the event. Moving continuously for 24 hours throughout the space of her/his choosing in a sensory-deprived state, the performer meditates on the dislocation and disorientation of those who do not have the basic right of being safe for the duration of a single day, who instead must be continuously on the move because of the threat of violence.
freedom of information 2008 is free and open to the public in each of the venues that the artists have selected. Throughout the 24 hours, people are invited to come and go as they please, watching the participating artist as they attempt to fulfill the simple but rigorous demands of this action.
For more information on the preparations and locations for this event, click here.
The event has been initiated by Miguel Gutierrez, a choreographer/performer based in Brooklyn, NY. Gutierrez is an award-winning artist whose evening-length pieces tour internationally. For more information on his work, click here.
Gutierrez will continue to identify artists to participate in this action throughout the month of December. As of December 24, here are the participating artists for freedom of information 2008:
Alabama – Rhea Speights
Alaska – Kyli Kleven
Arizona – Aileen Mapes
Arkansas--Malinda Allen
California – Jesse Hewit
Colorado – Lily Brown-Johnson
Connecticut – David Dorfman
Florida – Heather Maloney
Georgia – Diana Crum
Hawaii – Brianna Skellie
Illinois – Marissa Perel
Iowa – Amanda Hamp
Kentucky – Ben Asriel
Maryland – Sharon Mansur
Massachusetts – Jesse Zaritt
Michigan – Marlee Cook-Parrott
Minnesota – Morgan Thorson
Montana – Harmony Wolfe
New Hampshire – Gregory Holt
New Jersey – Joshua Bisset
New York – Miguel Gutierrez
North Carolina – Janice Lancaster
Ohio – Lena Lauer
Oregon – Tahni Holt
Pennsylvania – Jung-Eun Kim
Tennessee – Layard Thompson
Texas--Daniel Adame
Vermont – Selene Colburn
Virginia – Zap McConnell
Washington – Tonya Lockyer
Washington, D.C. – Maida Withers
West Virginia – Katherine Ferrier
In New York, Miguel Gutierrez will perform freedom of information 2008 at The Barn, an independently run dance studio in Greenpoint, Brooklyn. (ilovebarn.com)
In New York, Miguel Gutierrez will perform freedom of information 2008 at The Barn, an independently run dance studio in Greenpoint, Brooklyn.
On December 31, artists across the nation will perform freedom of information 2008: a 24-hour performance/protest/ritual, initiated by choreographer Miguel Gutierrez in response to the U.S.-led wars in Afghanistan and Iraq. Participants will engage in continuous movement improvisation performed while blindfolded and ear-plugged, which is intended as a contemplative act of solidarity with those displaced by the wars.
This action takes place over the last 24 hours of 2008, from midnight to midnight of December 31st. It ends with the ringing in of the New Year. At present, there are 29 artists participating in freedom of information 2008. Each artist will perform the action in her/his respective state and during the 24 hours that correspond to December 31st in his or her time zone. Miguel Gutierrez originally performed freedom of information alone on December 31, 2001, in response to the U.S. invasion of Afghanistan. This time, inviting artists from across the country creates a nationwide, synchronous event.
freedom of information 2008 involves staying in one room for the duration of the event. Moving continuously for 24 hours throughout the space of her/his choosing in a sensory-deprived state, the performer meditates on the dislocation and disorientation of those who do not have the basic right of being safe for the duration of a single day, who instead must be continuously on the move because of the threat of violence.
freedom of information 2008 is free and open to the public in each of the venues that the artists have selected. Throughout the 24 hours, people are invited to come and go as they please, watching the participating artist as they attempt to fulfill the simple but rigorous demands of this action.
For more information on the preparations and locations for this event, click here.
The event has been initiated by Miguel Gutierrez, a choreographer/performer based in Brooklyn, NY. Gutierrez is an award-winning artist whose evening-length pieces tour internationally. For more information on his work, click here.
Gutierrez will continue to identify artists to participate in this action throughout the month of December. As of December 24, here are the participating artists for freedom of information 2008:
Alabama – Rhea Speights
Alaska – Kyli Kleven
Arizona – Aileen Mapes
Arkansas--Malinda Allen
California – Jesse Hewit
Colorado – Lily Brown-Johnson
Connecticut – David Dorfman
Florida – Heather Maloney
Georgia – Diana Crum
Hawaii – Brianna Skellie
Illinois – Marissa Perel
Iowa – Amanda Hamp
Kentucky – Ben Asriel
Maryland – Sharon Mansur
Massachusetts – Jesse Zaritt
Michigan – Marlee Cook-Parrott
Minnesota – Morgan Thorson
Montana – Harmony Wolfe
New Hampshire – Gregory Holt
New Jersey – Joshua Bisset
New York – Miguel Gutierrez
North Carolina – Janice Lancaster
Ohio – Lena Lauer
Oregon – Tahni Holt
Pennsylvania – Jung-Eun Kim
Tennessee – Layard Thompson
Texas--Daniel Adame
Vermont – Selene Colburn
Virginia – Zap McConnell
Washington – Tonya Lockyer
Washington, D.C. – Maida Withers
West Virginia – Katherine Ferrier
In New York, Miguel Gutierrez will perform freedom of information 2008 at The Barn, an independently run dance studio in Greenpoint, Brooklyn. (ilovebarn.com)
In New York, Miguel Gutierrez will perform freedom of information 2008 at The Barn, an independently run dance studio in Greenpoint, Brooklyn.
Seven Habits of Highly Effective Dance Companies
The 7 Habits of Highly Effective Dance Companies
by Steven Weisz, The Dance Journal, PhiladelphiaDANCE.org
by Steven Weisz, The Dance Journal, PhiladelphiaDANCE.org
Dance@DMAC wants you!
Alasa writes: As we expand our dance programming, DMAC is seeking to commission 10 new dance works. The new works will be premiered during the first two weeks of June 2009 at our beautiful turn-of-the-century playhouse. Each program will consist of 3-4 new works no longer than 10 minutes in length and will be presented on three separate evenings. Choreographers will receive a commission fee of $500.00 and adequate rehearsal time in one of our studios. If you would like to apply, please complete the form below.
Name__________________________________________________________________
Company_______________________________________________________________
Email___________________________________________________________________
Address________________________________________________________________
Phone__________________________________________________________________
Web Site________________________________________________________________
Print out this form and send completed along with:
* brief bio (one page)
* DVD with an example of your work (preferably one full-length piece)
* a one-paragraph description of proposed work and number of dancers
* The work should not have been previously presented in any form nor should it be a work in progress or part of a larger piece. We seek to commission new works created specifically for our space.
*press clippings
*technical requirements (Our stage dimensions are 23'width x 37'depth. We recommend that pieces have a maximum of 6 dancers.)
Mail to:
DMAC
PO Box 1200
Cooper Station
New York, NY 10276
Please do not Fedex us this package; use regular mail.
Deadline: February 1, 2009
Late or incomplete applications will not be accepted.
Submitted materials will not be returned unless you enclose a SASE.
Dance Video Works We are also seeking dance video works to be screened at DMAC on three consecutive Monday evenings in June, 2009. Please submit these to the same address.
Michelangelo Alasa
Artistic Director
Ailey is golden
Ah, yes. The glorious--and, this season, omnipresent--Alvin Ailey American Dance Theater. Happy 50th to the world's favorite dance company!
If everything Ailey seems blown up this season, can't you understand why? A dance troupe. Started by a black man. From a hardscrabble background in segregated Texas. Fifty years later, and look how far this baby has come. As Audre Lorde reminded us, "We were never meant to survive."
In today's hard times, the multifaceted Ailey institution is still there as a touchstone.
And that's why, when I looked around at the audience last night and saw how many black people were in attendance and then watched the company's new documentary, I was deeply moved. Let me be frank about this, once again. Black people are not flocking to dance in New York in anything approaching significant numbers that reflect the vibrant diversity of this city. In fact, my people are barely represented at all among the audiences for most of the dance shows, of any kind, that I attend.
But we are going to Ailey and that means--despite the stasis and lack of innovation that New York critics sometimes cite in their reviews--Ailey continues to serve the needs of many people across racial and cultural backgrounds. It is more than "Cultural Ambassador to the World." Ailey remains one gleaming and durable bridge out from dance to people who might not otherwise give this art form a second glance. People who are inspired by the dancers' discipline and their exalted capabilities, by the humanistic values inherent in the works, and by their generous regard for the audiences who love them.
Go in Grace--the new ensemble by Ailey dancer Hope Boykin--exemplifies and amplifies that fifty-year tradition. It is a bighearted teaching work--teaching by way of story, that is, by way of dramatic relationships and movement. It breaks no new ground for Ailey in terms of choreography--in fact, I see replicas of Boykin's own way of moving in every single step--nor does it veer too far out in terms of its theme of love, estrangement, loss and reconciliation. But it does introduce thrilling vocals by the renowned chorus of black women a capella singers, Sweet Honey in The Rock. The singers' interactions with the dancers are staged with wonderful imagination and suppleness. In this, Boykin and the Ailey troupe have shown us something different and vivid and precious.
Happy anniversary, and happy season!
Alvin Ailey American Dance Theater at City Center through January 4
If everything Ailey seems blown up this season, can't you understand why? A dance troupe. Started by a black man. From a hardscrabble background in segregated Texas. Fifty years later, and look how far this baby has come. As Audre Lorde reminded us, "We were never meant to survive."
In today's hard times, the multifaceted Ailey institution is still there as a touchstone.
And that's why, when I looked around at the audience last night and saw how many black people were in attendance and then watched the company's new documentary, I was deeply moved. Let me be frank about this, once again. Black people are not flocking to dance in New York in anything approaching significant numbers that reflect the vibrant diversity of this city. In fact, my people are barely represented at all among the audiences for most of the dance shows, of any kind, that I attend.
But we are going to Ailey and that means--despite the stasis and lack of innovation that New York critics sometimes cite in their reviews--Ailey continues to serve the needs of many people across racial and cultural backgrounds. It is more than "Cultural Ambassador to the World." Ailey remains one gleaming and durable bridge out from dance to people who might not otherwise give this art form a second glance. People who are inspired by the dancers' discipline and their exalted capabilities, by the humanistic values inherent in the works, and by their generous regard for the audiences who love them.
Go in Grace--the new ensemble by Ailey dancer Hope Boykin--exemplifies and amplifies that fifty-year tradition. It is a bighearted teaching work--teaching by way of story, that is, by way of dramatic relationships and movement. It breaks no new ground for Ailey in terms of choreography--in fact, I see replicas of Boykin's own way of moving in every single step--nor does it veer too far out in terms of its theme of love, estrangement, loss and reconciliation. But it does introduce thrilling vocals by the renowned chorus of black women a capella singers, Sweet Honey in The Rock. The singers' interactions with the dancers are staged with wonderful imagination and suppleness. In this, Boykin and the Ailey troupe have shown us something different and vivid and precious.
Happy anniversary, and happy season!
Alvin Ailey American Dance Theater at City Center through January 4
Thursday, December 11, 2008
Live from New York, it's...Misnomer!
Chris Elam's Misnomer Dance Theater, nearing the conclusion of its run at Joyce Soho, will broadcast the first ever live webcast of a New York City downtown dance show on Sunday, December 14 at 8pm. Elam's premiere, Being Together, will be available to watch live on the Misnomer Web site, featuring a live chat with online audience members. Visit the site now for more information.
Faïn and Kocik: transformative space
Daria Faïn (choreographer) and Robert Kocik (architect/sculptor/poet) have had the good fortune to visit and soak up the atmosphere of ancient healing sites on the isle of Amorgos in Greece. Their new work, The Extent to Which, evokes the resonant geometry and history of the temples, baths and ampitheaters in which the Greeks cleansed bodymindsoul. As part of The Prosodic Body--Faïn and Kocik's overarching project--The Extent to Which re-links art and health in our modern-day awareness with an aim to create true transformation, not mere spectacle.
As spectacle, though, Extent has its beauties and its intensities, certainly not separate from its purpose. Performed inside and around an open enclosure of plexiglas and wood, with a stream of increasingly primal sounds both remote and startingly near, the hour-long work abstracts the experience of sitting in the ancient structures and witnessing the ritual arts. In one captivating passage, we watch dancers orbit the center of the performance space, and one another in shifting arrangements and pathways, with their arms and hands forming various hieratic gestures and their bare feet making a soft, dry, shuffling sound.
Another segment takes a less soothing approach as dancers pitch painted rocks at the barriers. There's a fascinating theatrical tension between the crash of rocks smacking into plexiglas--not far from audience members looking on from risers on those sides of the space--and the total control of dancers who, though dashing precariously around one another, toss those rocks with the power and disciplined, studied grace of Olympian athletes.
At the end of the performance, I felt more than a little spacey, as if I had been transported to another world.
The Extent to Which, a joint presentation of Danspace Project and CPR--Center for Performance Research, features Faïn's troupe, Human Behavior Explorers: Benjamin Asriel, Charlotte Gibbons, Alexandra Martorell, Valerie Samulski and Peter Sciscioli. Other members of the collaborative team include Rodrick Murray (lighting), Matt Dick (costumes), Michelle Nagai (music), and Kenta Nagai (live sound performer). The show runs through Sunday with two performances tonight, Friday and Saturday (7pm and 9pm) and a 3pm performance on Sunday.
CPR
361 Manhattan Avenue, Williamburg, Brooklyn
Just a short walk from the L train at Graham Avenue
Information and reservations or 718-715-1500
As spectacle, though, Extent has its beauties and its intensities, certainly not separate from its purpose. Performed inside and around an open enclosure of plexiglas and wood, with a stream of increasingly primal sounds both remote and startingly near, the hour-long work abstracts the experience of sitting in the ancient structures and witnessing the ritual arts. In one captivating passage, we watch dancers orbit the center of the performance space, and one another in shifting arrangements and pathways, with their arms and hands forming various hieratic gestures and their bare feet making a soft, dry, shuffling sound.
Another segment takes a less soothing approach as dancers pitch painted rocks at the barriers. There's a fascinating theatrical tension between the crash of rocks smacking into plexiglas--not far from audience members looking on from risers on those sides of the space--and the total control of dancers who, though dashing precariously around one another, toss those rocks with the power and disciplined, studied grace of Olympian athletes.
At the end of the performance, I felt more than a little spacey, as if I had been transported to another world.
The Extent to Which, a joint presentation of Danspace Project and CPR--Center for Performance Research, features Faïn's troupe, Human Behavior Explorers: Benjamin Asriel, Charlotte Gibbons, Alexandra Martorell, Valerie Samulski and Peter Sciscioli. Other members of the collaborative team include Rodrick Murray (lighting), Matt Dick (costumes), Michelle Nagai (music), and Kenta Nagai (live sound performer). The show runs through Sunday with two performances tonight, Friday and Saturday (7pm and 9pm) and a 3pm performance on Sunday.
CPR
361 Manhattan Avenue, Williamburg, Brooklyn
Just a short walk from the L train at Graham Avenue
Information and reservations or 718-715-1500
Queens' jewel
Paz Tanjuaquio, seen here performing in 2005 at Danspace Project, opens a new evening-length production tonight at Topaz Arts, her center in Woodside, Queens.
on the other side of silence--based on a 1952 manuscript by Yoko Ono and featuring dance, film, new music and interactive installations--will run through Sunday at 8pm.
Information and ticketing
on the other side of silence--based on a 1952 manuscript by Yoko Ono and featuring dance, film, new music and interactive installations--will run through Sunday at 8pm.
Information and ticketing
Dance bloggers unite!
The resourceful Deborah Friedes and Tal Galili have launched the beta version of DanceBloggers.com--a promising blog aggregator for everyone who can't get enough of dance or blogging about dance.
Got a dance-related blog? Sign up for their directory, and you get your blog posts previewed on their site, attracting new readers. You can also subscribe to get a daily email-digest of all posts or add their subscription URL to your favorite RSS reader. Check it all out here.
Got a dance-related blog? Sign up for their directory, and you get your blog posts previewed on their site, attracting new readers. You can also subscribe to get a daily email-digest of all posts or add their subscription URL to your favorite RSS reader. Check it all out here.
Wednesday, December 10, 2008
Movement Research: Picture this
Photography for contemporary dancers and choreographers with David Bergé
in conjunction with Movement Research's MELT Winter workshops
January 5-6 (Monday & Tuesday), 10:30am-5:30pm
at LaMaMa
74A East 4th Street (between 2nd and 3rd Avenues), Manhattan
6th Floor
Fee: $75
Often the best dance photographers are dancers themselves. The dancer's heightened sense of three-dimensional spatial awareness lends itself exceptionally well to working within the accessible two-dimensional format of photography. In this workshop, spanning two full days, dancers will be introduced to the way photography works. Participants in this workshop will do exercises, discuss photographs, and look at composition and how it supports content.
If you have a camera, bring it! Space is limited so register now!
Tuesday, December 9, 2008
Movement and Time
Movement and Time
by Jeff Curto from Jeff Curto's Camera Position: A Podcast About the Creative Side of Photography
With a photograph of pecore (sheep) as an example, Camera Position #5 examines the way movement and time affect a photographic image. In many ways, every photograph is about the past and about the passage of time.
by Jeff Curto from Jeff Curto's Camera Position: A Podcast About the Creative Side of Photography
With a photograph of pecore (sheep) as an example, Camera Position #5 examines the way movement and time affect a photographic image. In many ways, every photograph is about the past and about the passage of time.
The science of touch
Primal, Acute and Easily Duped - Our Sense of Touch
by Natalie Angier, The New York Times, December 8, 2008
by Natalie Angier, The New York Times, December 8, 2008
Gottlieb's "Reading Dance" reviewed
'Reading Dance,' edited by Robert Gottlieb
by Jennifer Balderama, The New York Times, December 7, 2008
by Jennifer Balderama, The New York Times, December 7, 2008
Monday, December 8, 2008
David Parker on negative reviews
Choreographer David Parker of The Bang Group writes on reacting--and moving on from--a negative review in this Dance Magazine essay.
And speaking of David Parker, if you have yet to see Parker play Liesl in Doug Elkins's Fraulein Maria--his gender-bending, vestpocket version of The Sound of Music--what the heck are you waiting for? Check it out this weekend on the unbelievably tiny stage at Joe's Pub. Click here for all the details.
And speaking of David Parker, if you have yet to see Parker play Liesl in Doug Elkins's Fraulein Maria--his gender-bending, vestpocket version of The Sound of Music--what the heck are you waiting for? Check it out this weekend on the unbelievably tiny stage at Joe's Pub. Click here for all the details.
The Turning World (77)
Content and Its Discontents
Why new forms of media must evolve along with new technologies
Virginia Heffernan, The New York Times, December 7, 2008
Why new forms of media must evolve along with new technologies
Virginia Heffernan, The New York Times, December 7, 2008
Sunday, December 7, 2008
Générique, an open source performance
Générique
Monday, December 8 at 8pm
Judson Memorial Church Meeting Hall
55 Washington Square South, Manhattan
Free -- no reservations required
Générique: presentation of everybodys toolbox. Come play and discover Générique, an open source performance.
The presentation will be supported by DD Dorvillier, Milka Djordjevich, Trajal Harrell, Sarah Percival plus YOU! Followed by Mårten Spångberg performing Powered by Emotion, a reconstruction of the Goldberg variations by J. S. Bach, interpreted by Glenn Gould, improvised by Steve Paxton, filmed by Valter Werdin.
Information at everybodys toolbox
Information at Movement Research
Monday, December 8 at 8pm
Judson Memorial Church Meeting Hall
55 Washington Square South, Manhattan
Free -- no reservations required
Générique: presentation of everybodys toolbox. Come play and discover Générique, an open source performance.
The presentation will be supported by DD Dorvillier, Milka Djordjevich, Trajal Harrell, Sarah Percival plus YOU! Followed by Mårten Spångberg performing Powered by Emotion, a reconstruction of the Goldberg variations by J. S. Bach, interpreted by Glenn Gould, improvised by Steve Paxton, filmed by Valter Werdin.
Information at everybodys toolbox
Information at Movement Research
"Dance in Israel" now on iTunes
Deborah Friedes of Dance in Israel blog announces the launching of her site's podcast on iTunes. Search under title: Dance in Israel. Congratulations, Deborah!
This is a nice opportunity to remind you that you can also find Body and Soul podcast on iTunes and vote for it, too! Search under author: Eva Yaa Asantewaa. Thanks!
This is a nice opportunity to remind you that you can also find Body and Soul podcast on iTunes and vote for it, too! Search under author: Eva Yaa Asantewaa. Thanks!
Take your seat at the table!
Your Seat at the Table
Change.gov: The Obama-Biden Transition Team
Here's your chance. How about making some noise on behalf of the arts, especially dance?
Change.gov: The Obama-Biden Transition Team
Here's your chance. How about making some noise on behalf of the arts, especially dance?
DTW: Paper or plastic?
On Saturday night, the shared program of Kyle Abraham (of Abraham.In.Motion) and Layard Thompson drew one of the coolest audiences I've seen at Dance Theater Workshop--or anywhere--in a long time. If I could put in an order for more of the same, all around New York's dance scene, I would. But, then again, how diverse did this audience turn out to be when some of Abraham's followers left in the break before Thompson's half of the show? (Oh, well...) In any case, both of these artists made strong impressions over the course of an evening that, under normal circumstances, would have felt--and, indeed, would have been--way, way, way too long. Somehow, both of these guys pulled it off. How?
Abraham. Folks should rush to sign up to dance for him. I certainly would. With an assist from costumer Sarah Cubbage and lighting/projection designer Dan Scully, Abraham creates environments--no, havens--for the human body that show it off to startling effect. Witness his solo Brick, its multiple, moody aesthetic layers--minstrel-like stereotypes writ monumental, floating Afro wigs, black skin coated in jet-black grease paint, moody Japanese landscapes, crime-scene outline graffiti, a collaged soundscape of irresistible hip hop rhythms with highly-resistible hip hop lyrics--and the way it stuns you and suspends you in a light trance poised between avoidance and indulgence. A solo, sinuous and jarring, all of it coming at you, illogically, in waves of elegance. A haunted performance by a young yet confident performer, one who shows himself, in The Dripping Kind, his ensemble piece, to have a keen eye, serious discipline and incomprehensible originality. Whenever Abraham sets anything before you, be sure to keep track of stuff going on in the margins. He will color outside the box. I suspect we will have to reckon with this rising artist in coming years.
Thompson. The boundary-less Id that crashed the party. Propelling himself down DTW's stairs in a noisy, ruffly dress constructed from a gathering of used paper coffee cups. Thompson flopping and levitating. Chanting and burping. Shedding his shell-like dress and inner cocoon-like layers of plastic baggage. Cup...puC......K......Ohhhh, Beauty, full, vessel: Holy ritual. Wholly, a tantrum. Thompson is a child unsupervised, only sporadically self-conscious. Or, perhaps, Thompson is Mother Earth Herself, keening and flailing like a oil-soaked cormorant, wacked out and desperate to get out from under. Borderline. Some people tittered, but it's really painful (and potentially transformative) to watch with an open heart. Like Abraham, Thompson gathers collaborators who go full-tilt with him--in this case, lighting designer Chloë Z Brown and costumer Machine P.H.D. (Pixie Harlot Dazzle). The world they conjure--which is to say, our world of consumption, excess and heedless destruction--is completely mirrored in Thompson's risk-taking performance. Risky to body and damn challenging to an audience who, among other things, must witness the performer turning a spreading puddle of urine into a prop. Tempting to say that Thompson doesn't know when to stop, that Cup ranneth over numerous times and could have--should have--ended at any point along the way. But the man gave his all, and then some, and it all fit his intention. I'd call that a success.
Abraham. Folks should rush to sign up to dance for him. I certainly would. With an assist from costumer Sarah Cubbage and lighting/projection designer Dan Scully, Abraham creates environments--no, havens--for the human body that show it off to startling effect. Witness his solo Brick, its multiple, moody aesthetic layers--minstrel-like stereotypes writ monumental, floating Afro wigs, black skin coated in jet-black grease paint, moody Japanese landscapes, crime-scene outline graffiti, a collaged soundscape of irresistible hip hop rhythms with highly-resistible hip hop lyrics--and the way it stuns you and suspends you in a light trance poised between avoidance and indulgence. A solo, sinuous and jarring, all of it coming at you, illogically, in waves of elegance. A haunted performance by a young yet confident performer, one who shows himself, in The Dripping Kind, his ensemble piece, to have a keen eye, serious discipline and incomprehensible originality. Whenever Abraham sets anything before you, be sure to keep track of stuff going on in the margins. He will color outside the box. I suspect we will have to reckon with this rising artist in coming years.
Thompson. The boundary-less Id that crashed the party. Propelling himself down DTW's stairs in a noisy, ruffly dress constructed from a gathering of used paper coffee cups. Thompson flopping and levitating. Chanting and burping. Shedding his shell-like dress and inner cocoon-like layers of plastic baggage. Cup...puC......K......Ohhhh, Beauty, full, vessel: Holy ritual. Wholly, a tantrum. Thompson is a child unsupervised, only sporadically self-conscious. Or, perhaps, Thompson is Mother Earth Herself, keening and flailing like a oil-soaked cormorant, wacked out and desperate to get out from under. Borderline. Some people tittered, but it's really painful (and potentially transformative) to watch with an open heart. Like Abraham, Thompson gathers collaborators who go full-tilt with him--in this case, lighting designer Chloë Z Brown and costumer Machine P.H.D. (Pixie Harlot Dazzle). The world they conjure--which is to say, our world of consumption, excess and heedless destruction--is completely mirrored in Thompson's risk-taking performance. Risky to body and damn challenging to an audience who, among other things, must witness the performer turning a spreading puddle of urine into a prop. Tempting to say that Thompson doesn't know when to stop, that Cup ranneth over numerous times and could have--should have--ended at any point along the way. But the man gave his all, and then some, and it all fit his intention. I'd call that a success.
Brenda Neville: Body and Soul podcast
This season, Brenda Neville's Neville Dance Theatre brings a contemporary Nutcracker with a world of difference to Brooklyn's Kumble Theater for the Performing Arts (Long Island University). With a Brooklyn-based setting that features techie toys for kids of all ages and a party mix of capoeira, tango, Irish dancing and more, this production puts a fresh spin on the beloved winter classic.
(c)2008,Eva Yaa Asantewaa
MP3 File
(c)2008,Eva Yaa Asantewaa
MP3 File
Program Notes: Upcoming on "Body and Soul"
This season, Brenda Neville's Neville Dance Theatre brings a contemporary Nutcracker with a world of difference to Brooklyn's Kumble Theater for the Performing Arts (Long Island University). With a Brooklyn-based setting that features techie toys for kids of all ages and a party mix of capoeira, tango, Irish dancing and more, this production puts a fresh spin on the beloved winter classic.
Thursday, December 18th, 2008 (Gala) at 8pm
Friday, December 19th, 2008 at 7:30pm
Saturday, December 20th, 2008 at 3:00pm (Family Performance) and 7:30pm
Kumble Theater for the Performing Arts
1 University Plaza, Brooklyn
Information and ticketing: 718.488.1624 or Web site
Brenda R. Neville (Director/Choreographer), has spent the last two decades performing and choreographing ballet, modern, Argentine Tango, Flamenco and other ethnic dances in over 18 different countries with companies such as the Milwaukee Ballet, Indianapolis Dance Company, AllNations Dance Company, Marc DeGarmo & Dancers, Covenant Dance Theatre and in numerous musical theatre productions. Her expertise covers a vast array of dance styles giving her choreography exceptional diversity and color. She has trained and performed with some of the top talents in dance today, including Juan Carlos Copes, Soledad Barrio, Sean Curran, Elizabeth Parkinson, Marjorie Mussman and Graciela Kozak.
An active dance teacher in the New York City area, she is a current faculty dance instructor at The Ailey School and Covenant Ballet Theatre of Brooklyn. Her students have been accepted by some of the most reputable dance programs and schools in the country, including American Ballet Theatre, Central Pennsylvania Youth Ballet, and LaGuardia Performing Arts High School. An expert ballet pointe shoe fitter, she has assisted in the development of the Gaynor Minden pointe shoe and currently works with Freed of London. She is a cum laude graduate of Butler University, receiving a B.A. in Dance Pedagogy, and is a co-founder of World Dance Theatre.
Thursday, December 18th, 2008 (Gala) at 8pm
Friday, December 19th, 2008 at 7:30pm
Saturday, December 20th, 2008 at 3:00pm (Family Performance) and 7:30pm
Kumble Theater for the Performing Arts
1 University Plaza, Brooklyn
Information and ticketing: 718.488.1624 or Web site
Brenda R. Neville (Director/Choreographer), has spent the last two decades performing and choreographing ballet, modern, Argentine Tango, Flamenco and other ethnic dances in over 18 different countries with companies such as the Milwaukee Ballet, Indianapolis Dance Company, AllNations Dance Company, Marc DeGarmo & Dancers, Covenant Dance Theatre and in numerous musical theatre productions. Her expertise covers a vast array of dance styles giving her choreography exceptional diversity and color. She has trained and performed with some of the top talents in dance today, including Juan Carlos Copes, Soledad Barrio, Sean Curran, Elizabeth Parkinson, Marjorie Mussman and Graciela Kozak.
An active dance teacher in the New York City area, she is a current faculty dance instructor at The Ailey School and Covenant Ballet Theatre of Brooklyn. Her students have been accepted by some of the most reputable dance programs and schools in the country, including American Ballet Theatre, Central Pennsylvania Youth Ballet, and LaGuardia Performing Arts High School. An expert ballet pointe shoe fitter, she has assisted in the development of the Gaynor Minden pointe shoe and currently works with Freed of London. She is a cum laude graduate of Butler University, receiving a B.A. in Dance Pedagogy, and is a co-founder of World Dance Theatre.
Saturday, December 6, 2008
INSPIRIT: dreaming and becoming
While the glorious Ailey troupe celebrates its 50th anniversary uptown, up-and-coming Christal Brown's INSPIRIT, a dance company has been kicking up a fuss about its 5th anniversary downtown at BMCC Tribeca Performing Arts Center. The repertory series--called Dreams and Visions, named for the troupe's world premiere piece--concludes this evening at 8pm.
Brown, who has performed with Urban Bush Women and other notable ensembles, has also grown into an inventive, spicy soloist whose slices of personal revelation blend kickass assertiveness with accessibility. In that vein, her recent solo Take That is best on the bill here, but I think you might also enjoy Until Fruition--a 2004 trio set to the supple, lilting voice of Mali's Oumou Sangare and offered, with delicate fluidity, by dancers Beatrice Capote, Alexandra Joye Houston and Toni Renee Johnson.
And while I'm at it...Happy 25th Anniversary to BMCC Tribeca PAC. More information about Tribeca PAC's programming as well as ticketing for tonight's peformance of INSPIRIT, a dance company can be found by clicking here.
Brown, who has performed with Urban Bush Women and other notable ensembles, has also grown into an inventive, spicy soloist whose slices of personal revelation blend kickass assertiveness with accessibility. In that vein, her recent solo Take That is best on the bill here, but I think you might also enjoy Until Fruition--a 2004 trio set to the supple, lilting voice of Mali's Oumou Sangare and offered, with delicate fluidity, by dancers Beatrice Capote, Alexandra Joye Houston and Toni Renee Johnson.
And while I'm at it...Happy 25th Anniversary to BMCC Tribeca PAC. More information about Tribeca PAC's programming as well as ticketing for tonight's peformance of INSPIRIT, a dance company can be found by clicking here.
DTW gets that lobby talking again
Dance Theater Workshop
Lobby TALKS
December 9 -- 7:30pm (free)
The (non) currency of historical, re-visited, and re-staged choreography
This conversation will explore and debate the various issues and motivations behind the act of re-staging choreography. As an ephemeral, live art form, can re-staged choreographic works help us gain new understanding from our shared history in dance and performance? How do these works resonate today? We will discuss the idea of bringing back specific works from two or three decades ago as well as works from recent seasons. Join invited participants Simon Dove, Danielle Goldman, David Gordon, Neil Greenberg, and Yasuko Yokoshi in this discussion.
Lobby TALKS
December 9 -- 7:30pm (free)
The (non) currency of historical, re-visited, and re-staged choreography
This conversation will explore and debate the various issues and motivations behind the act of re-staging choreography. As an ephemeral, live art form, can re-staged choreographic works help us gain new understanding from our shared history in dance and performance? How do these works resonate today? We will discuss the idea of bringing back specific works from two or three decades ago as well as works from recent seasons. Join invited participants Simon Dove, Danielle Goldman, David Gordon, Neil Greenberg, and Yasuko Yokoshi in this discussion.
A new initiative of Dance Theater Workshop, Lobby TALKS creates a forum for open and in-depth discourse on contemporary issues in dance and performance. Organized around specific themes, each meeting uses as a starting point one or more of the artistic investigations, methodologies, and motivations that can be seen in performance today and on our current season. Subjects will be investigated, challenged, and considered by an invited group of artists, critics, and theorists, and is open to all who would like to join the conversation.
Friday, December 5, 2008
Collaborations stack up--or not--at Skirball
Stacks--presented in a packed, one-night-only affair at Skirball Center for the Performing Arts--felt to me like a tug of war between Anne Carson's poetry on one side and the rearrangeable sculpture of Peter Cole and rearrangeable dancers of Jonah Bokaer on the other. I found myself mightily tugged in the direction of the visuals. I figure I can always go back and read Carson's lines in peace. And, in quiet, I'd like to watch the re-piling and tossing and kicking away of Cole's clutter of cardboard boxes and the clean-air look of Bokaer's movement, the silky, resilient way handsome bodies make plain the space around them as well as within them. I had a similar but less regretful reaction to Bracko--the juxtaposition of a Rashaun Mitchell duet with Carson's translation of Sappho. These artistic encounters did not work for me, which is not to say they could not be someone else's perfect arrangement.
Ailey gala spectacular
Alvin Ailey American Dance Theater - A Celebration of a Company’s Past
by Alastair Macaulay, The New York Times, December 4, 2008
by Alastair Macaulay, The New York Times, December 4, 2008
Abraham and Thompson: Captivating mysteries
Kyle Abraham and Layard Thompson - Scrutinize the Shield, Beware the Mirror
by Claudia La Rocco, The New York Times, December 4, 2008
by Claudia La Rocco, The New York Times, December 4, 2008
Thursday, December 4, 2008
WOW! It's a clothing swap!
WOW Cafe Theater's Clothing Swap
Saturday, December 6
4:30 - 6:30pm
$7 with a bag of clothes, $14 without
The economy sucks but you can look like a million bucks!
Find your new favorite shirt/dress/platform boots/glittery bustier! Clear some space in that crazy crowded closet of yours! The fabulosity never stops at the WOW clothing swap!
Here’s how it works: For $7 and a bag full of clothes you don’t wear anymore, you can peruse the selection at the swap and take home whatever you want. If you don’t have a bag to bring, it’s $14 – still a bargain!
We’ll be serving hot cider and donuts, and getting our funk on with groovy music while you shop. New items arrive throughout the swap – come and hang out for a while!
WOW Cafe Theater
59-61 East 4th Street (Fourth Floor)
between Bowery and 2nd Avenue, Manhattan
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