At the End of All Things: Hofesh Shechter on His Latest Work
The first time I saw a Hofesh Shechter work, the usher handed me a program and a pair of earplugs as I walked up to the theater door. I was running late so I stuffed the tiny foam pieces in my pocket. I could not imagine in what universe I would ever need such things if I didn't even use them at rock concerts. And then I walked into the theater. I was pleasantly surprised to be accosted by the decibel level of what appeared to be a death metal band playing live for Shechter's Political Mother. I never used the earplugs, but perhaps the usual concert dance audience was grateful for the gesture.
In 2012, the show was a surprise even by the standards of Brooklyn Academy of Music's Next Wave Festival. In the years since, the Israeli choreographer has continued to shock and awe American audiences with his powerful, raw dance theater. His latest creation, Grand Finale, is a mature study in the contrasts and contradictions, the violence and the transcendence, that mark the modern human condition. I caught up with Shechter, now based in London, ahead of the work's appearance at BAM Next Wave November 9–11.
Grand Finale. Photo by Rahi Rezvani, Courtesy Danse Danse
What was your inspiration for Grand Finale? Is it purely abstract or is there a story in it for you?
I try to make work that is like a real night dream: You feel a lot of things and kind of know where you are are, and you kind of understand what is happening. It is an opportunity to express and digest a lot of emotions in the world today and in my life. And the responses are subjective; some people speak to me about the absolute despair in it and some speak of the hope they see, a shining star in the dark or a celebration of life. I think these two powers just exist together. There is a feeling of celebrating life regardless of how difficult it is, and, perhaps new to me, the feeling that there is beauty in the horrifying truth of our world, in what people are and how they behave. I was trying to make poetry with atrocities around me.
What is your creative process like when you are both composing and choreographing? Has this process changed over the last 10 years of your work?
I am learning each time. Normally I write the score and meet musicians near the end of the dance process. In the case of Grand Finale, I did a bit more of the early work with music and the musicians.
The score was not completed when I began with dancers. There was a lot of shifting, moving, readjusting. It is really a nonlinear, complex, messy experience.
When working with live musicians, I am not just telling them what to do, I am trying to find material to see how they flourish and connect with it. I want them to feel comfortable, to be able to improvise, like my dancers. This time, I wanted to discover new sounds and instruments and see how they could define the new material with dancers. The whole essence is human, very gentle, though of course the track has percussive energies, too. It was important to me that the band hold together the human spirit.
Grand Finale. Photo by Rahi Rezvani, Courtesy Danse Danse
What was the collaboration process like with your designers?
I try not to have literal conversations with designers. I want the design to kick us out of the literal world. The lighting designer Tom Visser was a great collaborator. It was wordless, and he stepped into my vision through doing and trying. For three days we just played a cold/hot game, getting warmer, colder, and then hot, and he read me through that process. His artistic vision is powerful and he has this ability to make the piece better without interrupting it.
And the walls in this show...
The movement of the walls was a very technical thing. My original idea was to shift them around the space but not have the audience see those movements. But then set designer Tom Scutt came up with walls that were so elegant and moved so smoothly, and had such artistic merit on their own, that we decided to make their movements visible. They appear solid but the world keeps shifting, and people are existing in the spaces in-between.
I am curious about if, and how, your military service [mandatory in Israel] informs your work? This is a rare thing in America, for a choreographer to also be a veteran.
Everything I have experienced goes into my work. I was a clerk in the military and I had special status as a dancer, but even though I was a "chocolate soldier" and not on the battlefield, I was still sucked into the system of the army. This hierarchic, fascistic system shocked me and was difficult for me to accept. It amplified a lot of my questions.
You are returning to New York after your Broadway choreographic debut with Fiddler on the Roof, for which you received a Tony nomination. Do you feel like there are expectations based on what has seemed to many like such rapid success?
I didn't even consider it. Maybe I am a bit like a child? I look at what is in front of me and I either get excited or afraid or nervous. Right now I am just excited to bring Grand Finale to audiences. We have had great experiences at BAM and I think the audience will connect to its power. If a different sort of audience is curious about Grand Finale because of Fiddler, great. I don't think they will be disappointed. For Broadway audiences to delve into a world that is different than musicals...that is exciting to me.
Grand Finale. Photo by Rahi Rezvani, Courtesy Danse Danse
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped), which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.
When London-based perfume company The Beautiful Mind Series was looking for a collaborator for their next scent, they skipped the usual celebrity set and brought in prima ballerina Polina Semionova instead. "I was fascinated by what goes on in the mind of a great dancer," perfumer Geza Schoen said in a press release. Semionova's ballet-inspired scent, Precision & Grace, celebrates the intelligence and beauty behind her craft.
Courtesy of The Beautiful Mind Series
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
Ever find yourself lusting after that six o'clock penché, or a développé that will reach your nose? You're not alone. The eye is naturally drawn to the end points of a movement, and, in dance, that often translates to the highest extension.
But what if you're born without extreme, Instagram-worthy lines? It's a matter of developing a laser focus on alignment as well as strengthening and stretching with better body mechanics in mind.
The ever-so-busy Kyle Abraham is back in New York City for a brief visit with his company Abraham.In.Motion as they prepare for an exciting spring season of new endeavors with some surprising guests. The company will be debuting a new program at The Joyce Theater on May 1, that will include two new pieces from Abraham, restaged works by Doug Varone and Bebe Miller, and a world premiere from Andrea Miller. Talk about an exciting line-up!
We caught up with Abraham during a recent rehearsal where he revealed what he is tired of hearing in the dance community.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.
Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?
If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.
"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."
I'll never forget something Roberto Bolle once told me when I was interviewing him about his workout regimen: Talking about how much he loved to swim, he said, "I would love to go in the Italian sea, but I am too well-known there to show up in my suit."
It always amused and kinda shocked me that a ballet dancer could reach that level of fame. But it's true: In his native Italy, Bolle is a bonafide celerity.
Everyone knows that community college is an affordable option if a four-year school isn't in the cards. But it can also be a solid foundation for a career in the dance field. Whether students want an associate in arts degree as a precursor to obtaining a bachelor's, or to go straight into the performing world, the right two-year dance program can be a uniquely supportive place to train. Don't let negative stereotypes prevent you from attending a program that could be right for you:
Conscientious theatergoers may be familiar with The School for Scandal, The School for Wives and School of Rock. But how many are also aware of the school of Fosse?
The 1999 musical, a posthumous exploration of the choreographic career of Bob Fosse, ran for 1,093 performances, winning four Tonys and 10 nominations; employing 32 dancers; and, completely unintentionally, nurturing a generation of Broadway choreographers. You may have heard of them: Andy Blankenbuehler and Sergio Trujillo danced in the original cast, Josh Rhodes was a swing, and Christopher Gattelli replaced Trujillo when he landed choreography jobs in Massachusetts and Canada. Blankenbuehler remembers that when Trujillo left, "It was as if he was graduating."