Leilah Broukhim explores "Traces"

Last evening, the 92Y Resource Center for Jewish Diversity hosted a presentation of excerpts from Traces: A Sephardic Flamenco Journey, a work-in-progress by dancer Leilah Broukhim. A New Yorker of Persian Jewish heritage, Broukhim has lived in Spain for a decade, becoming a performer of distinct style and command. Immersing herself in flamenco on its home turf took "a lot of work, a lot of patience, a lot of humility," she later told her audience in a post-performance Q&A. 

Traces reflects Jewish, Iranian and gitano cultures and derives from Broukhim's quest to "close the circle"--to uncover the meaning of her blended identity in a narrative of her people's exile from Spain and her sense of homecoming. The excerpts were a wonderful promise. Her handsome dancing--with its simmer and its exuberance, with its proud exactitude and its Near Eastern accents--marks her for flamenco royalty.

On hand to provide some deep, delectable sounds were Saray Munoz (vocals), Pedro Cortes (guitar) and Nacho Arimany (percussion) plus--and this was a very big plus--Bahram Ji, Persian singer and master of the santur, whose powerful drive channeled irresistible joy. 

Broukhim envisions the completed work as a multidisciplinary piece with a larger musical corps and a video of art (her mother, painting) linked to the flow of the music. I liked the intimacy (if not the sightlines) of her showing at the Y, and I hope she will resist any temptation to turn Traces into a mega-production. Following the Soledad Barrio/Noche Flamenca model, keeping it reasonably small, spare and close to the audience would be ideal, and I can easily see a successful run at Theater 80 St. Marks, Barrio's usual East Village stomping ground.

Keep watch for news of Broukhim's progress, and I will certainly let you know if I hear anything worth sharing.

Upcoming 92Y dance events of note

Sundays at Three: Lionel Popkin
Sunday, December 12, 3 pm ($10)

The Los Angeles-based dancer and choreographer shows excerpts from two pieces--a section from There Is an Elephant in This Dance (2009), a clever, funny and uncanny dance about how one body can hold multiple identities; and an excerpt from a work-in-progress, Looking for Ruth, as in Ruth St. Denis. A former performer with Trisha Brown, Terry Creach and Stephanie Skura, Popkin has shown his own choreography in Los Angeles, Seattle, New York, Philadelphia and London. Dance Magazine has written that his work “heightened and transformed one’s perception of the theatrical space.” Q&A with Popkin following the performance. 

Dance on Camera: Richard Move

Sunday, December 19, 2:45-5 pm

In collaboration with Dance Films Association, we examine the interaction between dance and the camera. What happens when we put dance behind a lens? Examine how the filmmaker’s intention can guide everything from lighting to choreography. Joining us is downtown icon and Martha Graham-impersonator-extraordinaire, Richard Move. Move has danced with and choreographed for Mikhail Baryshnikov, Rasta Thomas, Debbie Harry, Shirley Bassey and the Martha Graham Dance Company. He has also made several films: Bardo, which earned a Jury Prize nomination in the 2009 Dance on Camera Festival; Bloodwork--The Ana Mendieta Story, which won a National Board of Review award; and Ghostlight, which premiered at the Tribeca Film Festival.

The 92nd Street Y

1395 Lexington Avenue, Manhattan (directions)

212-415-5500