Dancers & Companies

Wendy Perron's First Blog

Why Is Naharin's Work So Mesmerizing?

After seeing Ohad Naharin’s Decadance performed by Cedar Lake Contemporary Ballet, you don’t come out of it saying This part was good and that part wasn’t. You come out of it having experienced humanity in a raw state. When Ebony Williams in bizarre feathery get-up on stilts, lip synchs to a song of grunts, sighs, and yells, there is something both artificial and ruthless about the way she uses her whole body and face. The recorded sounds seems to come from her gut, spiced up by a touch of Eartha Kitt and Harpo Marx too. The scene is almost funny, but it’s too mesmerizing to laugh.

Cedar Lake invited Naharin to spend three months with them setting Decadance, which is a compilation of excerpts of previous works. The dancers (all of them technically fantastic) have journeyed deep into themselves to get to a place of rawness. His demands go beyond pretty or beautiful, an aesthetic that is shared with Graham. But the movement sometimes looks like krumping or butoh. I think the hypnotic effect has to do with the vulnerability he encourages in his dancers. It gets to something essential about being human—or even animal. In the beginning, when they line up downstage for an excerpt from Naharin’s Virus, their gloved hands look like paws—until each dancer explodes, one at a time, into their personal version of condensed fury.

Another aspect of Naharin’s work that draws you in is the inventive ways he pulls audience members onto the stage. This time, I was one of those led by the hand to the performing space. I don’t have to tell you that it is quite a mental and physical switch from sitting and watching to being under the lights. My personal guide looked at me with fierce eyes that told me what to do. And yet there was room to play; you felt an instant camaraderie with the other dazed souls onstage. My guide turned out to be Shani Garfinkel, who is actually from Naharin’s Israeli company, Batsheva, and had joined Cedar Lake temporarily as both dancer and his assistant.

The program continues until July 1.

The Mothers Made Me Cry

After seeing various casts of Peter Martins’ Romeo + Juliet and American Ballet Theatre’s Sleeping Beauty—and reading lots of reviews—I feel like the mothers have been overlooked. Everyone talks about the different Juliets and Auroras, but Darci Kistler as Lady Capulet really brought the tragedy home, and Susan Jaffe as the queen was the emotional center of the new Sleeping Beauty.

Kistler gave extravagant weight to her every gesture. She had to practically rond-de-jambe around her huge dress, and she did so with generous sweeping arms. Maybe because of her grandeur, when she reacted to the deaths—first of Tybalt, then of Juliet—you felt the tension between her position in life and her immediate grief.

Susan Jaffe was a noble and radiant Queen. When the King, in a fit of rage, ordered Catalabutte (his chief minister) killed, Jaffe went into slow-motion action to calm him. She took his hand and placed her check tenderly in his palm. That did it. The feeling of her cheek in his hand appeased him, and he could now forgive. It seemed like all is OK in a land where a wife’s touch can bring down a king’s ire. It’s like a little shadowing of the Lilac Fairy mitigating Carabosse’s vengeful death sentence.

Pixabay

It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.

—Former Anorexic, Weston, CT

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Photo by Johan Persson, Courtesy ROH

Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.

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Dancers & Companies
Nisian Hughes

"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"

Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.

Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.

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Dancers & Companies
via Rebels on Pointe

You know Les Ballets Trockadero de Monte Carlo as the men who parody your favorite ballet variations—and make it look good. But there's more to the iconic troupe than meets the eye.

A new documentary, Rebels on Pointe, goes behind the scenes of the company, and it's full of juicy tidbits about what it's like to be a Trock. These were some of our favorite moments:

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Health & Body
LINES dancer Courtney Henry. Photo by Quinn Wharton

We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.

But it turns out that might not actually be how stretching works.

A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.

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Training
Laurel Jenkins, Photo by Vincent Beaume

Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.

So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.

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Breaking Stereotypes
AXIS's Lani Dickinson and James Bowen. Photo by Matt Evearitt, courtesy AXIS

After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.

By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.

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Health & Body
Jim Lafferty for Pointe

You know that how you care for your body before curtain can impact your performance. But with so many factors to consider, it can be difficult to nail down an exact routine. How much rest is enough? How close to showtime should you eat? We asked the experts.

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Popular
screenshot via Jonathan Simkhai.

How do you make your athleisure collection stand out from the pack? Get the ultimate studio-to-street seal of approval by having dancers star in your campaign, of course.

For his second collaboration with activewear brand Carbon38, ready-to-wear designer Jonathan Simkhai traded in his usual top models like Gigi Hadid and Karlie Kloss for the original Hiplet dancers—and the resulting video is as cool as we'd expect from such a fierce collaboration.

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Breaking Stereotypes
Emily Schoen and Houcem Bouakroucha, Photo by TuniStudio

Again and again, dance teaches me that when the filters fall away between people—when the boundaries of geography, religion and politics soften—the beginning and end of our relationships is always human.

In March, I traveled with Keigwin + Company to Cote D'Ivoire, Ethiopia and Tunisia, on a tour sponsored by the US State Department and facilitated by DanceMotion USA/Brooklyn Academy of Music. Our mission was cultural diplomacy: Simply, to share ourselves with diverse communities, to promote common understanding and friendships.

Our last stop was Tunisia. Until that point, we had mostly been learning varieties of traditional African dance, and sharing American modern dance. But Tunisia was different. The dancers already had a solid grasp of contemporary movement invention. Though we didn't speak the same language, we could make movement vocabulary with surprising ease. Everything about our backgrounds was different, but there was this special intersection through dance that seemed to present an open door to collaboration.

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