The Music Center at Strathmore - Bethesda, Maryland
May 1, 2010
Firsts are significant events. Life is punctuated by firsts: first steps, first words, first day of school, first date, first kiss and many other firsts that need not be named. As any dance company develops, they too will experience a number of momentous milestones; one of which is the full-length program. This past weekend, CityDance 2 gave us their first featured performance with Contact, presenting six varied works that spoke to both the freshness of this group and the historical organization from which it came. Being able to participate in this incredible showing of talent must have been thrilling for the whole CityDance family and watching it unfold was quite a privilege.
The first act opened with The Bicycle Project by Kate Jordan, a mechanical exploration of the bicycle and bicycle culture. This was the only piece that I had seen before, though I still found newness and undiscovered elements in it. The first sequence employs a progressive construction of forms on a diagonal line from downstage left to upstage right. While the cast moved along this structural route, the projection screen slowly revealed a bicycle image. This combination of media and movement gave a strong sense of the evolution in assembly. Eric Hampton's Girl Friends made me believe that someone else, besides Jerome Robbins, understood how to mix ballet, jazz and contemporary dance and make it work. If only more choreographers could grasp this deep connection. During Adrain Bolton's Givin Up, all I could think about was liturgical dance. This was partly informed by the gospel-y music and the flowing dresses, though the passion and intensity of the choreography and the dancing was what really brought me to that place. The first solo, danced by Kate McDonald was particularly noteworthy: the longing and reaching of her arms and legs, her sidewise Graham pleadings, the crescendo sequence of her three grand rond de jambes where she looked like she was actually stirring her inner emotions. It was challenging, emotional and awakening all at the same time. Givin Up may not be liturgical dance, but it is certainly a consummate example of what liturgical dance should be.
The second act began with Leslie Ann Scott's Limbo - an homage to modern dance genius, Jose Limon, and his lifelong examination of the upper body curve. Scott utilized this motion in every possible direction (front, back, side, saggital) illustrating the depth of meaning that this curve can reveal. And, she highlighted the most important lesson of the upper body: the arms react because the torso and back move first. False Front by Delphina Parenti showed us two sides of a relationship. First was the idea of performance, were each partner plays their expected part, followed by an unraveling reality of what happens when no one is looking and the truth of a connection can't hide anymore. The final piece of the evening was Paul Gordon Emerson's Peregrine. Accompanied by the live music of Bottomland, Peregrine was an unencumbered celebration of wildlife. The gymnastic lifts, partnering jumps and inventive arms reflected a natural habitat and made a larger comment on the freedom of motion. The dancers jumped for pretty much the whole piece, representing the beauty and dynamism in what already exists and 'what can be'. So much is possible if we can just manage to let life happen.
When I read my favorite theorists and critics (Edwin Denby, Selma-Jeanne Cohen, Marcia Siegel), it always strikes me that they saw and wrote about today's dance greats before we knew who they were going to become. The starting phases; the early recognition of talent. It makes me wonder about the future of this company and these dancers: where will they be in twenty or thirty years? With the specialness they already exhibit, there is no limit to what they can achieve.
Tuesday, May 04, 2010
Friday, April 30, 2010
Fieldwork for Mixed Desciplines-The Dinner Party
Works-in-Progress
DC Arts Center - Washington, D.C.
April 28, 2010
The Field/DC's presentation of The Dinner Party was one of the first dance events that I attended after moving to DC last summer. So, as I prepare to return to California, it seems fitting that another episode of The Dinner Party will be one of my final DC reviews. A wonderfully diverse program awaited the audience with nine individual offerings. Choreographic works still dominated the program, though this time, music and photography were also included. The breadth was an accurate representation of 'fieldwork for mixed disciplines' as opposed to my first Dinner Party where there was only dance and only solos. This broader scope also permeated the choreographic works themselves: two solos, a duet and three group pieces. Variety was the common denominator on Wednesday night.
The four solo performances (2 music, 2 dance) were the highlights of the evening. Patrick Smith's Creation Suite, a tripartite acoustic guitar composition, was beautiful. In particular, the first movement, Kinnara, explored the space between major and minor keys using arpeggiation. I felt the presence of a Baroque prelude where the purpose was to explore different keys to the enth degree, including notes and intervals that are not necessarily a part of that original key. This type of experimentation is really the only way to unlock the mysteries of and discover the possibilities within the major and the minor. The electronic music of Yoko K. involved audience participation in composing her soundscape. She was so genuine, authentic and passionate about her message of 'small changes' that you could not help but be charmed by her and her musical goals. Bridget Kelly's Center explored and examined points of origin in the body and how they translate into choreography. Positions were achieved (the arm behind the body, a pointed index finger, arabesque extension), though the intent was focused on how the body got to those postures. Nothing was peripherally placed; it organically emerged from a central point, traveled through transitory space and then achieved the final pose. These resting places were very beautiful in their own right, but for me, the impetus and transitional movement were most compelling. Feel This, composed and danced by Ilana Silverstein, was the final piece of the program. The costuming and choreography suggested a Duncanesque, Egyptian quality as she moved through a series of very dramatic poses. Silverstein is a strong performer and her choreography interesting, but her gaze was very distracting. She constantly looked around with no clear focal point, taking away from the overall piece. This is something that is incredibly difficult to recognize if you are choreographing on yourself. I wonder if she should spend some time out of her work setting it on other dancers. A lack of visual focus would be obvious if she was choreographing on someone else.
Of the group pieces, the most developed were two by Orit Sherman, Sphere and Inside a Cell. Sphere has a very consistent image throughout the work, starting right with the opening pose. The dancers stand in 2nd position, with their hands grasping an imaginary ball. As they moved through the dance, the volume of that spherical space remained clear in their bodies. Inside a Cell reminds us that sometimes biological progressions can be both calm and organic or abrupt and jarring. Sherman sought to illustrate both aspects - quiet flow alongside punctuating change. Although the dancing and choreography were strong in both of these pieces, I must admit that at times, I was worried about the safety of the dancers. Each piece had seven women and the performance space at the DC Arts Center is tiny. There was some holding back and some actual collisions due to the restrained working area. I would be interested to see these pieces in a larger venue to get a fuller understanding.
The idea of works-in-progress is necessary in the performing arts, but it is also leaves me feeling a little lost. I want to see another showing of all these pieces at their next level of development. I think this would provide a much stronger relationship between the audience and the work. Then again, maybe it's completely valid to not have a sense of resolution.
DC Arts Center - Washington, D.C.
April 28, 2010
The Field/DC's presentation of The Dinner Party was one of the first dance events that I attended after moving to DC last summer. So, as I prepare to return to California, it seems fitting that another episode of The Dinner Party will be one of my final DC reviews. A wonderfully diverse program awaited the audience with nine individual offerings. Choreographic works still dominated the program, though this time, music and photography were also included. The breadth was an accurate representation of 'fieldwork for mixed disciplines' as opposed to my first Dinner Party where there was only dance and only solos. This broader scope also permeated the choreographic works themselves: two solos, a duet and three group pieces. Variety was the common denominator on Wednesday night.
The four solo performances (2 music, 2 dance) were the highlights of the evening. Patrick Smith's Creation Suite, a tripartite acoustic guitar composition, was beautiful. In particular, the first movement, Kinnara, explored the space between major and minor keys using arpeggiation. I felt the presence of a Baroque prelude where the purpose was to explore different keys to the enth degree, including notes and intervals that are not necessarily a part of that original key. This type of experimentation is really the only way to unlock the mysteries of and discover the possibilities within the major and the minor. The electronic music of Yoko K. involved audience participation in composing her soundscape. She was so genuine, authentic and passionate about her message of 'small changes' that you could not help but be charmed by her and her musical goals. Bridget Kelly's Center explored and examined points of origin in the body and how they translate into choreography. Positions were achieved (the arm behind the body, a pointed index finger, arabesque extension), though the intent was focused on how the body got to those postures. Nothing was peripherally placed; it organically emerged from a central point, traveled through transitory space and then achieved the final pose. These resting places were very beautiful in their own right, but for me, the impetus and transitional movement were most compelling. Feel This, composed and danced by Ilana Silverstein, was the final piece of the program. The costuming and choreography suggested a Duncanesque, Egyptian quality as she moved through a series of very dramatic poses. Silverstein is a strong performer and her choreography interesting, but her gaze was very distracting. She constantly looked around with no clear focal point, taking away from the overall piece. This is something that is incredibly difficult to recognize if you are choreographing on yourself. I wonder if she should spend some time out of her work setting it on other dancers. A lack of visual focus would be obvious if she was choreographing on someone else.
Of the group pieces, the most developed were two by Orit Sherman, Sphere and Inside a Cell. Sphere has a very consistent image throughout the work, starting right with the opening pose. The dancers stand in 2nd position, with their hands grasping an imaginary ball. As they moved through the dance, the volume of that spherical space remained clear in their bodies. Inside a Cell reminds us that sometimes biological progressions can be both calm and organic or abrupt and jarring. Sherman sought to illustrate both aspects - quiet flow alongside punctuating change. Although the dancing and choreography were strong in both of these pieces, I must admit that at times, I was worried about the safety of the dancers. Each piece had seven women and the performance space at the DC Arts Center is tiny. There was some holding back and some actual collisions due to the restrained working area. I would be interested to see these pieces in a larger venue to get a fuller understanding.
The idea of works-in-progress is necessary in the performing arts, but it is also leaves me feeling a little lost. I want to see another showing of all these pieces at their next level of development. I think this would provide a much stronger relationship between the audience and the work. Then again, maybe it's completely valid to not have a sense of resolution.
Wednesday, April 28, 2010
NY Export: Opus Jazz
PBS Great Performances
Dance in America
"NY Export: Opus Jazz"-2010
original airdate-March 24, 2010
The relationship between dance and film has several layers and dimensions. First and most common, dance is usually filmed. Videographers generally record most work (in rehearsal or performance) for archival, press or company purposes. Second, with the rise of 'interdisciplinary' and 'new media' movements, film has a home in live performance as an additional element conveying the message of the choreography. Then there is the dance film - a separate entity where dancemaking and filmmaking purposefully fuse in the creation of a cohesive artpiece. For a successful dance film, there must be a two-way give and take where choreography adapts to film and film adapts to choreography. Most dance films fail to meet this criteria and the film portion takes over, resulting in a completely inaccessible and weird product. Some level of weirdness is okay, but can there be more to the choreography than one dancer sitting on a chair twirling her hair for an hour and a half? The post-moderns would counter by saying that this pedestrian, gestural movement is just as valid a dance choice as a pas de deux. Fine, but can we have a little balance? I don't mind experiencing deconstructed movement but, if a film is billed as a dance film, it would be nice to include some formal technique as well. I think that a true dance film is a rather elusive animal.
Enter NY Export: Opus Jazz, a new 2010 film version of Jerome Robbins' Ballet in Sneakers (1958). This may be the only real and actual dance film I have ever seen, where the choreography remained technically and authentically intact, the abstraction of filmmaking was captured through landscape and scenework and most important, Robbins' examination of youth was constant in both media (film and dance). The opening visuals of the film are a short journey through everyday youth activities: relaxing at the beach, playing video games, skateboarding, bicycling, riding the subway, doing laundry. Before any dance step enters the picture, the narrative of young urban life has been established. The context is there from the very beginning and holds true through the entire film. The first group dance sequence takes place in an outdoor space where circle dances and couple dances pervade. This provided a strong indication of both the social role of dance and the flirtation and romance behind it. Another open space, warehouse-style this time, housed a variation for the men where the movements embodied struggle, anger, abandon and freedom. The filmed locale provided a place where these feelings could be explored and the choreography itself - lunges with hands reaching out and quick pirouettes followed by abrupt falls to the floor - told of the internal emotions. In all of the segments, real jazz steps helped forward the story: rule-breaking parallel pirouettes, laid-back step-ball-changes, flirty hip isolations, sexy fan kicks, showy hitch kicks, and unrestrained axles and lay-outs. Robbins was able to bring this unique physical syllabus to life in a way that fed his narrative vision.
Not only was NY Export: Opus Jazz an excellent dance film, but also an example of solid jazz choreography. Jazz dance is in a precarious place right now; at a crossroads of sorts. Currently, jazz is abundant in dance studios, performance teams and on reality television. At the same time, it is not very successful in professional or semi-professional choreography. The dance genre itself is not to blame; jazz dance has an incredible movement vocabulary on which to build interesting and artistically challenging work. But the reality is that jazz dance, as used today, lacks artistic maturity and choreographic rigor. For jazz to participate and flourish in the repertory of professional companies, we must look beyond its adolescent performance team identity. Not every movement has to mean something, but it doesn't have to look like a dance studio recital either. Jerome Robbins' choreography shows that jazz has a important and valuable role alongside ballet, modern, and post-modern dance: the depth of this art form is there, it just isn't being adequately accessed right now.
Dance in America
"NY Export: Opus Jazz"-2010
original airdate-March 24, 2010
The relationship between dance and film has several layers and dimensions. First and most common, dance is usually filmed. Videographers generally record most work (in rehearsal or performance) for archival, press or company purposes. Second, with the rise of 'interdisciplinary' and 'new media' movements, film has a home in live performance as an additional element conveying the message of the choreography. Then there is the dance film - a separate entity where dancemaking and filmmaking purposefully fuse in the creation of a cohesive artpiece. For a successful dance film, there must be a two-way give and take where choreography adapts to film and film adapts to choreography. Most dance films fail to meet this criteria and the film portion takes over, resulting in a completely inaccessible and weird product. Some level of weirdness is okay, but can there be more to the choreography than one dancer sitting on a chair twirling her hair for an hour and a half? The post-moderns would counter by saying that this pedestrian, gestural movement is just as valid a dance choice as a pas de deux. Fine, but can we have a little balance? I don't mind experiencing deconstructed movement but, if a film is billed as a dance film, it would be nice to include some formal technique as well. I think that a true dance film is a rather elusive animal.
Enter NY Export: Opus Jazz, a new 2010 film version of Jerome Robbins' Ballet in Sneakers (1958). This may be the only real and actual dance film I have ever seen, where the choreography remained technically and authentically intact, the abstraction of filmmaking was captured through landscape and scenework and most important, Robbins' examination of youth was constant in both media (film and dance). The opening visuals of the film are a short journey through everyday youth activities: relaxing at the beach, playing video games, skateboarding, bicycling, riding the subway, doing laundry. Before any dance step enters the picture, the narrative of young urban life has been established. The context is there from the very beginning and holds true through the entire film. The first group dance sequence takes place in an outdoor space where circle dances and couple dances pervade. This provided a strong indication of both the social role of dance and the flirtation and romance behind it. Another open space, warehouse-style this time, housed a variation for the men where the movements embodied struggle, anger, abandon and freedom. The filmed locale provided a place where these feelings could be explored and the choreography itself - lunges with hands reaching out and quick pirouettes followed by abrupt falls to the floor - told of the internal emotions. In all of the segments, real jazz steps helped forward the story: rule-breaking parallel pirouettes, laid-back step-ball-changes, flirty hip isolations, sexy fan kicks, showy hitch kicks, and unrestrained axles and lay-outs. Robbins was able to bring this unique physical syllabus to life in a way that fed his narrative vision.
Not only was NY Export: Opus Jazz an excellent dance film, but also an example of solid jazz choreography. Jazz dance is in a precarious place right now; at a crossroads of sorts. Currently, jazz is abundant in dance studios, performance teams and on reality television. At the same time, it is not very successful in professional or semi-professional choreography. The dance genre itself is not to blame; jazz dance has an incredible movement vocabulary on which to build interesting and artistically challenging work. But the reality is that jazz dance, as used today, lacks artistic maturity and choreographic rigor. For jazz to participate and flourish in the repertory of professional companies, we must look beyond its adolescent performance team identity. Not every movement has to mean something, but it doesn't have to look like a dance studio recital either. Jerome Robbins' choreography shows that jazz has a important and valuable role alongside ballet, modern, and post-modern dance: the depth of this art form is there, it just isn't being adequately accessed right now.
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