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Showing posts with label world dance. Show all posts
Showing posts with label world dance. Show all posts

Saturday, June 4, 2016

Upcoming US premieres for Carlos Saura's "Argentina"

Fans of Spanish director Carlos Saura's series of flamenco-related films should also enjoy Argentina (2015), a soulful love note to the music and dance of that nation. Shot in Buenos Aires, the sensuous documentary bears family resemblance to Saura's Flamenco Flamenco (2010) in its minimalistic yet dramatic setting, chiarascuro lighting and sunset coloration, intriguingly voyeuristic camera work, close-ups of expressive, lived-in faces and diverse array of excellent performers.

The 85-minute film samples everything from indigenous folk music to extraordinary ballads with an existential or political edge. There are songs about friendship and generosity, songs about the pain we humans cause our earth. "The only thing more important than God," one lyric tells us, "is that no one should spit blood so that another can live better."

The dancing follows a similar mixture--regional social dances, carnival dancing, contemporary choreography. It's all Argentina.

I was moved by so much in this film but especially the photo montage honoring the late, great singer Mercedes Sosa--a progressive artist known as "the voice of the voiceless"--who Saura positions as inspiration to a classroom of youngsters charmingly attentive to her "Todo cambia" ("Everything Changes"). Everything, she tells us, will change--except for the love she holds for her land and its people.

Eighty-five minutes can only give us a taste but, in that short time, Saura does his best to help us understand what Sosa loved with all her heart.

See the trailer here, and the US premiere screenings at New York's Lincoln Plaza Cinema (June 17) and LA's Laemmle Royal (July 1), presented by First Run Features.

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Saturday, May 28, 2016

Building futures: a fresh DanceAfrica for BAM

Armand Celestin (center)
takes a journey in Senegal: Doors of Ancient Futures,
the 2016 season of BAM's DanceAfrica.
(photo: Richard Termine)
The extraordinary Moussa Sonko
of Senegal's Les Ballets de la Renaissance Africaine "WAAtO SiiTA"
(photo: Richard Termine)

The charming Chuck Davis has stepped out of his role as Artistic Director of DanceAfrica--that torch now passed to Forces of Nature's Abdel R. Salaam, a former, and impressive, Davis dancer. But let's just call this change a further expansion of leadership rather than a replacement. DanceAfrica, now celebrating its 39th season at BAM, functions as an engine built to generate leadership in all directions--from its mighty corps of elders to the youthful minds and talents it nourishes, instructs and inspires. It's a village, and that village includes you, too, sitting out in the seats of Gilman Opera House, clapping, cheering or tearing up as you always do.

There was quite a lot of that last evening at the opening of this year's spectacular Senegal: Doors of Ancient Futures. There was Baba Chuck and the always nattily-dressed Baba Salaam to greet; generous supporters to thank; nine young Scripps scholarship winners to honor; and one lucky dance artist--DC-native Kwame Opare--to congratulate as first recipient of the new Chuck Davis Emerging Choreographer Fellowship. Opare's award will allow him to continue and deepen his relationship with the National Ballet of Ghana, creating "new work that explores West African dance technique and aesthetics on the contemporary stage."

DanceAfrica welcomed a new Artistic Director this season,
veteran choreographer Abdel R. Salaam.
Much-loved Baba Chuck Davis (below) will stay connected
to DanceAfrica's community as Artistic Director Emeritus.
(photo: Richard Termine)






Under Salaam, DanceAfrica will pursue its own imaginative expansion, newly emphasizing a unity of African tradition and African innovation. The latter is dramatically represented, this season, by Salaam's own work, A Question of Beauty, with its visual grandeur and passion for ousting demons of Black self-hatred, and Marie Agnes GomisWho Are We?, which situates rigorous contemporary movement and traditional Senegalese dance within an imperiled environment. Her handsome, Dakar-based Compagnie Tenane dances that piece amid a gleaming and confining field of one-gallon plastic water bottles. 


Baidy Ba and Marie Agnes Gomis
of Compagnie Tenane in Who Are We?
(photo: Richard Termine)

Senegal: Doors of Ancient Futures crackles with fresh energy and--at nearly 2-1/2 hours--benefits from a lightly-applied narrative through line that connects its companies and pieces. Central to this scheme is young Armand Celestin who takes an Alice-like step through an opening in space and time. Celestin's "looking glass" is inspired by Salaam's visits to Gorée Island's Door of No Return, the portal to the ocean that carried so many enslaved Africans west to the Americas. Lagging behind your typical bustling, photo-snapping tourist group, the boy becomes fascinated by this door, passes through and encounters all manner of dancers, musicians and wise elders. In many ways, Celestin stands for all of us in the house: DanceAfrica creates space and opportunities for us to appreciate African concerns--from environmental integrity to personal integrity--and African values.

But messaging isn't all. The stagecraft of Senegal: Doors of Ancient Futures--sets, lighting, costuming--has hit an all-time high for sophistication and pleasure. And we thrill to the vibrant performances of Dakar's Les Ballets de la Renaissance Africaine “WATTO SiiTA”--in particular, its leader, choreographer and charismatic chief dancer, Moussa Sonko. I don't know about young Celestin, but--damn--I definitely want to be Sonko when I grow up.

Senegal: Doors of Ancient Futures concludes on May 30 with performances today at 2pm and 7:30pm, Sunday at 3pm and Monday at 3pm. For information and tickets, click here.

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Saturday, April 16, 2016

Transcendant Malini Srinivasan

Dancer Malini Srinivasan introduces a dance.
Winter Garden at Brookfield Place
(photos: Eva Yaa Asantewaa)
Musicians shown, l-r: Vocalist Taniya Panda,
violinist Arun Ramamurthy
and bansuri (flute) player Jay Gandhi
(photos: Eva Yaa Asantewaa)


Sitting on the amphitheatrical staircase at the Winter Garden atrium at Brookfield Place can make you feel like you've finally fallen into that elusive "lap of luxury" you've always heard so much about. Beyond the round staircase landing (used as a performance space), you gaze out at a stand of palm trees, the entrances to upscale shopping spots and eateries and, past tall windows, to a yacht marina gleaming in the setting sun. The Winter Garden sits near the Hudson River edge of a neighborhood that, especially since 9/11, has seemed evermore sterile in design and sealed off from the rest of New York.

But Malini Srinivasan's Bharatanatyam performance last night--part of arts Brookfield's Transcendant Arts of Tibet & India series--brought heart and warmth to these surroundings. Entitled Rasa in the Round, the generous, nearly two-hour program included several dance solos by Srinivasan and music by Taniya Panda (Carnatic vocal), Samarth Nagarkar (Hindustani vocal), Umesh Venkatesan (nattuvangam), Arun Ramamurthy (violin), Jay Gandhi (bansuri), Bala Skandan (mrdangam) and Suryaksha Deshpande (tabla). Ramamurthy and flutist Gandhi, in particular, created heavenly beauty.

Srinivasan, dressed in magenta and gold, ritually blessed the space with movement and the release of rose petals to the air. Her dancing drew us close to those lovers of Lord Krishna who pine for him and vie for his favor. Her mastery of dance and story showed in her integrity of line, her firmly grounded plasticity allowing her to maintain control even when stretched, lunged or twisted out from her axis, shaping refined gestures and minute flutters of her fingers. Always, she displayed follow-through from head to toe, crackling with energy. Her dancing breathed as one with the singers' vocal lines.

For each tale, she took time to introduce the narrative with bits of dialogue and some imagery we'd notice along the way. For example, for Night, she previewed carefully inscribed gestures for "moon" and "waves." However, nothing prepared us for how deeply affecting these same simple gestures would be in their danced context and, especially, in Srinivasan's full-out, shapely performance.

Of one piece, Navarasa, Srinivasan noted, "It is up to the audience to taste the emotions" of the Divine Mother. Throughout the evening, she inspired us to taste a bit of everything, easily winning the rapt focus of her huge audience. Everything artificial, beyond her sacred circle, simply disappeared.

Transcendant Arts of Tibet & India is now closed. For information on future artsBrookfield programs at Winter Garden and elsewhere, click here.

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Monday, November 9, 2015

Is it too soon to be thinking about The Nutcracker?

Photos from Dance The World Nutcracker Festival
courtesy of JP Dance Group


Maybe, even though Rockefeller Center's Christmas tree is already in place!

But JP Dance Group wants you to start thinking about its Dance The World Nutcracker Festival, devoted to New York's exciting diversity.  Three programs (December 15-20) will present dance forms from a wide variety of cultures represented in our city--Chinese, Bulgarian, Middle Eastern, African, Caribbean, Mexican and Indian.

For a complete schedule of festival programs, click here. For tickets, click here.

The Secret Theatre
44-02 23rd Street, Long Island City, Queens
(map/directions)

Friday, March 6, 2015

Interview with Korean dancer-shaman Hi-ah Park

At the initiation ceremony, the minyong was placed leading onto the upstage portion of the house as a bridge between the heaven and the earth. To test my psychic ability and to determine if I could identify the deities who had descended on me, my Godmother and her assistant shaman, who serves as a messenger, sat at the end of the minyong, in a sense ending in heaven. A straw mat was placed downstage. Each question asked by the head shaman was repeated by her assistant. Instead of answering the questions directly, I began dancing. Then, kneeling down on the straw mat, I answered the questions orally. The dance seemed to heighten the trance state so that my answer came without thinking as if I know everything already.
The first question was, “If you become a shaman, through which gate will you enter?”
I started singing in an occult nature, previously unknown to me. Again I danced until possessed and knelt down to wait for the next question.
--Hi-ah Park as interviewed by Lauren W. Deutsch
Read more at:

Meeting With Sanshin:
An Interview with Hiah Park, Lover of the Mountain God
by Lauren W. Deutsch, Kyoto Journal, 1993

Saturday, February 14, 2015

See (and learn) dances of Aceh (Sumatra, Indonesia)


presents


Tari Aceh


7pm -- pre-performance lecture
8pm -- performance



11am-1pm -- workshop with dancers of Tari Aceh, 
exploring traditions and hallmarks of Acehnese dance

Aceh (Sumatra, Indonesia) is renowned for its exuberant performances combining text, poetry, dance, and movement with a distinct flavor that reflects local culture as well as a strong Islamic influence. It has been ten years since the devastating tsunami killed over 200,000 people in Aceh. This performance celebrates the resilience of the people and a new generation of young women whose traditions have provided an important part of the healing process.

One of the hallmarks of Acehnese dance is a form of body percussion in which various rhythms are created by slapping the body or clapping. One form — saman — is done in a tight line, shoulder-to-shoulder, becoming almost a singular-being moving at split-second speed. The form is not only entertaining, but also has an educational side which reflects the morals and teachings of the community.

This is a rare opportunity to see an all-female group from Syiah Kuala University, located in Banda Aceh, the capital of the Aceh province on the western Indonesian island of Sumatra.

This program is part of Asia Society's ongoing initiative Creative Voices of Muslim Asia.

Can't make it to this program? Tune in to AsiaSociety.org/Live at 7pm EST for a free live video webcast.

Asia Society
725 Park Avenue (at 70th Street), Manhattan
(map/directions)

Thursday, May 15, 2014

Flamenco great Farruquito comes to NYU Skirball, June 21-22

World Music Institute

presents

in his first NYC performance in over ten years

at NYU Skirball Center for the Performing Arts

Saturday, June 21, 8pm
Sunday, June 22, 7pm


HOME from FARRUQUITO on Vimeo.

Son of the singer El Moreno and dancer La Farruca, Farruquito is the chief proponent of the unique dance style founded by his grandfather, El Farruco. Farruquito made his Broadway stage debut at age five, starred in Carlos Saura's film Flamenco at twelve, and was directing his own shows by fifteen. After years of successes—and some personal tragedies—he makes a ­triumphant return to NYC after more than a decade. He’ll present his new work, Déjà vu.
Ticket information

Farruquito Web site

NYU Skirball Center
566 LaGuardia Place (south of Washington Square Park), Manhattan
(map/directions)

Tuesday, January 7, 2014

Cynthia Paniagua presents and teaches dances of Afro-Peru

Cynthia Paniagua
Casita Maria Center for Arts and Education announces a free presentation by 2014 Artist-in-Resident Cynthia Paniagua:

AFRO-PERUVIAN DANCE 
WITH CYNTHIA PANIAGUA

CYNTHIA PANIAGUA: DANCING MY ROOTS

Presentation
January 31, 6:30-8 PM

Afro-Peruvian dance workshops
Thursdays, January 16, 23 and 30, 6pm-8pm
Dancing My Roots interweaves contemporary movement and Peruvian traditional dance. Paniagua's choreography explores the heart of her ancestral part and its relationship with present day Latin American cultural realities.
During Paniagua's residency, she will also lead cultural workshops in Peruvian folk dance. To participate or sign up email Aisha Jordan at atajordan@casitamaria.org. Classes are open to all ages and levels, and beginners are welcome.

Casita Maria Center for Arts and Education
928 Simpson Street, the Bronx
(map/directions)

Sunday, December 22, 2013

Dance world, Harlem to say goodbye to Marie Brooks, December 28

Marie Brooks Home Going

Abyssinian Baptist Church
132 Odell Clark Place (West 138th Street), Manhattan
(212) 862-7474

Saturday, December 28, 2013

Final Viewing 10am–11am
Service 11am-1pm

Image
Marie Brooks Pan-Caribbean Dance Company
performing a tribute to Katherine Dunham


Praise song and Manna House Award for Marie Brooks (2011)

Sunday, December 8, 2013

The great Soledad Barrio at The Joyce Theater


Martín Santangelo's vision for his renowned flamenco ensemble, Soledad Barrio & Noche Flamenca, continues to prove that superb music, dance and human voice, unadorned and with fidelity to tradition, can be enough, can archive and share rich experience. The stage at The Joyce Theater, the touring group's home through December 15, has been stripped to bare brick walls and several chairs for guitarists and vocalists. Apart from lighting designer S. Benjamin Farrar's moody poetry, everything needed is carried in the performers' skillful bodies, pulling us into the essence of human loneliness, attraction, pain and exuberance.

The current season reacquaints New York's fervent Noche Flamenca fans with the dreamy, sinuous beauty of Eugenio Iglesias's guitar work, sound quietly floating out to us like delicate incense and shaping images in the mind. Singer Manuel Gago's supple, buoyant way with his cante verses in Zambra Caracolera and guest dancer Antonio Jimenez's mischievous, in-the-moment freshness in Solea por Bulerías feel more authentic--meaning true to the actual person, not some persona--than much that passes for and is lionized as exciting flamenco performance.

I am, once again, delighted to see these three worthy performers surrounding the jewel in this company's crown, Soledad Barrio, Santangelo's wife and muse. She needs no dramatic froufrou. She is drama, so vibrantly alive as a body, even when merely stretching herself against the long line of partner Juan Ogalla in El Calzador, that you can imagine there's meaning, at least for her, in their connection.

What I notice in Barrio's Siguiriya, especially, is an active mind trained on something besides just performing. Not, What is the next step? How do I look right now? How does my footwork sound? (All of that has been well attended to and can be laid aside.) But rather, Who am I in this contained, gloom-threatened swath of light called my portion of life?

I notice a strong body determined to carve its singular mark in space and to exert magnetic--and enlivening--influence upon everyone within reach. Barrio's close interactions with the company's singers can be tender, or she can bear the sacred and humbling touch of a priestess. No conventional beauty and not possessed of meaningless charisma, she is a diva of flamenco by virtue of her willingness to reveal, as Teilhard de Chardin would have seen it, the spiritual being within as it has its human experience.

Choreography: Martín Santangelo, Gabriela Goldin Garcia
Dancers: Soledad Barrio, Juan Ogalla, Antonio Jimenez, Marina Elana
Guitarists: Salva de María, Eugenio Iglesias, Hamed Traore
Vocalists: Manuel Gago, Carmina Cortes, Jose Jimenez, Mayte Maya

See Soledad Barrio & Noche Flamenca at The Joyce Theater through December 15. For complete program and schedule information and to purchase tickets, click here.

The Joyce Theater
175 Eighth Avenue (corner of 19th Street)

ASÉ Dance Theatre Collective announces audition, December 14

Adia Tamar Whitaker's ASÉ Dance Theatre Collective will hold an audition on Saturday, December 14 (4-6pm) at the Mark Morris Dance Center.
3 Lafayette Avenue, Brooklyn
C train to Lafayette, 2,3,4,5,D,B,Q,N,R to Atlantic/Pacific/Barclays
ASÉ Dance Theatre Collective is a professional neo-folkloric performance ensemble that is dedicated to preserving the past, present, and future of the African presence in the "New World.' Since 2000, ASÉ has presented work that links modem dance, original vernacular movement and traditional dance theater from the African Diaspora to conceptual ideas in the human experience.
This audition is for hardworking professional dancers of color with the stamina, physical strength, and technique to contribute something powerful to our collective. Freestyle dancers welcome! Male dancers are strongly encouraged to audition! Our performances are not limited to the concert stage.
That said, we are also looking for open-minded, adventurous people that dance about more than just dance, have a strong connection to African culture and respect the intricacy of traditional movement.
Dancers with intermediate to advanced training in contemporary modem dance, African based dance forms (specifically Afro-Haitian, Cuban, Puerto Rican, Dominican and Brazilian) and unique styles of movement are encouraged to come through! We are looking for female and male dancers to learn company repertory for upcoming spring and summer performances. Permanent positions in the collective will be offered to those who demonstrate consistency and exceptional performance quality.
Most performances are paid. Currently we do not have the funding to pay dancers for rehearsal time.
We need dancers who can vocalize, hold a note, hold the rhythm, hold their balance, slice through space, and breathe where there seems to be none.

Bring a headshot and resumé.
For information, write to asedance@gmail.com

Saturday, September 7, 2013

Edgar Cortes pays tribute to his native Portugal

Edgar Cortes
Following a well-respected career with the Martha Graham Dance Ensemble and Les Ballets Trockadero de Monte Carlo, Edgar Cortes set out to develop his own projects in modern dance. Later this month, Edgar Cortes Dance Theater, formed in 2009, will present its latest ensemble production at The Riverside TheatreSOL-I-DÓ pays tribute to the choreographer's homeland, inspired by remembered imagery, legends and music.
Scenes from SOL-I-DÓ
Cortes with Amelie Benard; and Benard below
(photos by Paul A. Machado)


"The show is not about the history of Portugal but what my country means to me," he says. "Different vignettes that remind me of what's getting a little bit lost--a wonderful, rich variety of traditional folk dances," such as the corridinho, an energetic, rotating circle dance from the Algarve, the southernmost region of Portugal.

Cortes, born in the southern municipality of Santiago do Cacém, resonates with people who live by the sea. He also loves the south's green landscape, its fields of poppies and sunflowers, all reflected in SOL-I-DÓ's design.

"SOL-I-DÓ is a play on words. It's part of a very popular song that everybody in Portugal knows when they're growing up. I'm not even sure if it's a real word or made up. The words go, 'They were both on the corner, playing the accordion and dancing the solido.' Solido is not really a dance but, in Portuguese, it rhymes with the rest of the words. It sounds very playful.

"Well, in America, not a lot of people know the song; it doesn't have the same effect. But what I did was divide the word. The way I'm writing it out--SOL-I-DÓ--gives it other meanings: Sol means sun. I--the "I" in the middle--means and [in Portuguese].  is another word for pity or sorrow.

"That's a perfect way to describe my country: sunny and bright but also a lot of sorrow--which is kind of the way I feel, being away from home."

Without a doubt, Cortes had to include fado, the signature Portuguese music of sorrow and nostalgia.

"You think Portugal, and you have to think fado and sardines and codfish and Port wine. I have a dance about sardines as well! And, there's definitely comedy...a little."
For this former Trock, there must always be a little comedy.

Here's something about Cortes that I remember posting here, in June of last year, from a 2010 episode of Here's the Thing TV.


Edgar Cortes bio

See Edgar Cortes Dance Theater in SOL-I-DÓ, Friday-Saturday, September 27-28, 8pm, at The Riverside Theatre.

Ticket information

The Riverside Theatre
The Riverside Church
91 Claremont Avenue, Manhattan
(map/directions)

Wednesday, June 19, 2013

Brooklyn's first festival of Indian classical dance to open June 25


DanceFest India!opening on June 25, will feature a special performance evening, classes and master classes in Indian classical dance forms. Presented by Trinayan Dance Theater, the six-day celebration represents Brooklyn's first festival of Indian dance.

Events include:

--"Sacred Vision," a performance evening at Kumble Theater for the Performing Arts at Long Island University on Saturday, June 29, 7:30pm

--Kathak and Odissi dance master classes hosted by The School at Mark Morris Dance Group

--a children's program of live dance and more at the Brooklyn's Children Museum

About "Sacred Vision"
“Sacred Vision” features world-renowned dancers Sujata  Mohapatra (Odissi) extolling the  classic work of Padmabhibhushan Guru Kelucharan Mohapatra , Savitha Sastry (Bharata Natyam) with the New York premiere of Soul Cages, Ayona  Bhaduri (Odissi) former  touring dancer with the Nrityagram Dance Ensemble making her NYC solo debut, and a special Kathak duet by Prashant Shah and Ammr Vandal featuring classic work from legendary Kathak Guru Padmasree Kumudini Lakhia. "Sacred  Vision” also features a special collaboration with Brooklyn-based photographer, Manjari Sharma's Project Darshan.  
DanceFest India! runs through June 30. For complete schedule and ticketing details, click here.

Wednesday, June 5, 2013

Jean-Léon Destiné exhibition and life celebration planned for Harlem

Jean-Léon Destiné (1918-2013)

Life Celebration--Saturday, June 15

1pm Mass at St. Charles Borromeo Church, 211 West 141st Street, Manhattan (212-281-2100)

4pm Exhibition at The Schomburg Center, 515 Malcolm X Boulevard, Manattan
(NW 135th Street and Lenox Avenue)

6pm Performance at The Schomburg Center's Langston Hughes Auditorium

****

The New York Times obituary from January 30, 2013:

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