After a program of Doug Elkins' works last Saturday, I moderated a post-performance talk with him. This was part of the high-powered Peak Performances series at Montclair State University in New Jersey, in which Doug premiered a film and a new dance and reprised his popular Mo(or)town/Redux. Students from MSU as well as Rutgers, where Doug teaches, were in the new piece, O, round desire.
Doug is a wild one to interview because his mind races all over the place. But he's also terrifically entertaining, so I had the feeling the audience was hanging on his every word—and every impromptu sound effect. Here are a few of his scintillating remarks, lacking exactness due to the fallibility of my memory:
• "Abstract and narrative are not opposites for me. They are on a continuum. It's like a Venn diagram, where you can see the overlap."
• "I swim in many oceans, and I sample from each one."
• "I don't have one train of thought; I have a whole squadron of planes of thought."
Kyle Marshall, Donnell Oakley, Elias Rosa and Cori Marquis in "Mo(or)town/Redux," all dance photos by Marina Levitskaya
• "I am in conversation with every dancer in the room. I work with their corporeal history."
• "When a child steps out of the bathtub and hears a party going on downstairs and he goes there naked to grab a potato chip, he's not being provocative. He's just doing what his senses tell him to do."
Elkins, photo by Christopher Duggan
After the talk, Doug emailed me with two more bits of explanation:
• "I often find myself oscillating or vibrating between causal logic and emotional association. For me, the place where they meet is in movement, in dance. It's why I've always loved Trisha Brown's description of herself as 'a bricklayer with a sense of humor.' "
• "Stories are irrevocably affected by the fallibility of the human mind, its limited perspective, distorted perceptions and the decaying of remembering. I can only offer glimpses of moments of things and let you, the viewer, connect it, causally or otherwise, as you see fit."
Doug also made a sort of confession about his new piece, O, round desire: "That's me as a B-boy having a crush on Trisha Brown."
For more Dougisms, watch his "Choreography in Focus":
"I don't cook for just one or two people," says James Whiteside, stirring a pot on his stove. "My mom taught me to cook and she had five kids. So when I do cook, I go in!"
Aside from breakfast (usually bacon, egg and cheese on an English muffin), the American Ballet Theatre principal rarely cooks for himself during ABT's seasons. He prefers to "forage" for his lunch and go out or order in for dinner, saving the real cooking for when he has friends or colleagues to feed. "I like to have a lot of people tell me my food is delicious," he quips.
We're not sure what we did to deserve the livestream generosity the dance world is giving us these days, but this weekend, it's getting even better.
PC Joe Toreno
L.A. Dance Project, Benjamin Milliepied's trendsetting contemporary troupe, has been in residence at The Chinati Foundation for the past few days. This weekend, they're showing us what they've come up with—for three days straight.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.
Restaurants have always been a great source of survival gigs for dancers. But today's top chefs aren't just looking for waiters to carry dishes to the table. They're hiring choreographers to give the staff dance-like skills and compose a sort of choreography for the dining room.
Leslie Scott, artistic director of dance theater company BODYART, is one of those choreographers. After working in more typical food industry jobs for 10 years, she's been tapped by top restaurants in both New York City and Los Angeles to lead workshops that finesse servers' non-verbal communication and navigation of tight spaces.
Back in 2002, dancer and choreographer Jonah Bokaer founded an art space in Brooklyn called Chez Bushwick. As Manhattan and Brooklyn were quickly becoming unaffordable, and many studio spaces were closing, Bokaer seized upon "creative placemaking"—the idea that the arts can play an integral role in community-building—before it became a buzzword. "We have been sustaining and maintaining one of the most affordable dance studios in New York State since the very beginning of my career," he says.
Fifteen years later, the challenges for choreographers in expensive urban centers continue unabated, and Bokaer has found his original mission magnified. While Chez Bushwick remains a haven for the next generation, there is also a growing number of young dancemakers who have been inspired to create their own residencies, communities and, ultimately, opportunities.
The New York City premiere of Alexei Ratmansky's sugary sweet story ballet, Whipped Cream, made for one of the most exciting spring galas at American Ballet Theatre yet. While we're usually in awe of the gowns the dancers sport on the red carpet beforehand, this time around, it was all about Whipped Cream's colorful and over-the-top costumes by Mark Ryden—and, okay, a few major dress moments, too. Ahead, check out what went on behind-the-scenes.