Robert Altman

The Timelessness of Ephrat Asherie's ​ODEON and Where It's Headed Next

Dancer/choreographer Ephrat "Bounce" Asherie's background is a melting pot of cultures from all over the world—which you can vividly see reflected in her work. But the recent Harkness Promise Awardee attributes the cross-pollination of genres in her work to more than just her background.


The choreographer says her eclectic style is deeply inspired by the New York City club scene. "It reflects a utopic space where people of so many different backgrounds can come together," she says. "Everyone has the room, space and time to express all the parts of themselves. So the idea of having the freedom to put all my interests together is supported by the collective consciousness of the club saying 'Go for it!' "

We stepped into the studio with Asherie and her company as they rehearsed an excerpt of ODEON for The CUNY Dance Initiative's 5th Year Fest. The piece, which premiered at Jacob's Pillow Dance Festival in June 2018, is a work Asherie feels will be in her repertoire forever. "I think the music is really timeless," she says. "There's something universal about it." Unfortunately, the musical score by Ernesto Nazareth will not be live with the company at CUNY as it was when it premiered at the Pillow.

"The piece is rooted in Brazilian music," Asherie says, "but because Brazilian culture is implicitly such a hybrid of its Indigenous and African roots, and European influences—there's something in there that is so unique and that spoke immediately to me. I always like making connections, whether it's through dance, people, spaces or time periods."


Catch ODEON at CUNY Dance Initiative's 5th Year Fest at Baruch Performing Arts Center, March 21 and 23.

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Studio shots by Alinne Volpato

Jovani Furlan's Open-Hearted Dancing—And Personality—Lights Up New York City Ballet

Something magical happens when Jovani Furlan smiles at another dancer onstage. Whether it's a warm acknowledgment between sections of Jerome Robbins' Dances at a Gathering or an infectious grin delivered in the midst of a puzzle box of a sequence in Justin Peck's Everywhere We Go, whoever is on the receiving end brightens.

"I could stare at him forever," says New York City Ballet principal Megan Fairchild. "He's just that kind of open spirit. He's not judging anything. It's like he's looking at you with his arms wide open and a big smile—even if he's not smiling, that's the energy he's giving you."

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