Ephrat "Bounce" Asherie on Collaborating—and Clashing—With Her Brother
Ephrat "Bounce" Asherie is no stranger to Jacob's Pillow. The New York–based b-girl has performed on the famous Inside/Out stage and at the Doris Duke Theatre and has appeared several times as a guest artist with Dorrance Dance. The native Israeli returns this summer as the first recipient of the Jacob's Pillow Fellowship at Tilles Center for the Performing Arts at LIU Post (which includes a $15,000 grant, a weeklong Pillow residency and another residency at Long Island University)—and to premiere a new work, Odeon, with her company, Ephrat Asherie Dance.
You must be so excited to go to Jacob's Pillow again.
It's truly amazing to be somewhere where people value dance so much. There's a weight given to what we do that's special and not how the rest of the world tends to operate around art. It's like a dance fairyland.
What was the inspiration for Odeon?
I knew I wanted to collaborate with my brother, Ehud, who's a jazz pianist. I would always go see his gigs, and there was a composer he played all the time, Ernesto Nazareth. I started listening to more of that music, and Ehud said, "Why don't we just do a project with Nazareth?"
The music straddles popular Brazilian rhythms and then this very classical, romantic music. Ehud helps the percussive feel come out, so it's very connected to the styles I do, which are all African-based. The title of the show, Odeon, is one of my favorite Nazareth tunes—but it's also the name of a kind of Greek and Roman building where people would gather for performances.
What is it like collaborating with your brother?
The same thing that makes it great makes it difficult! We can speak so directly to each other, which is efficient—nobody needs to be coddled. But, when we have a disagreement, we can really disagree. We're cut from the same cloth, so we're both pretty stubborn. At the same time, though, he introduced me to the music for Odeon and he loves it so much. That love itself is infectious.
The last time you were at Jacob's Pillow was with Dorrance Dance, whom you've been touring with quite a bit. What has it been like working with tap dancers?
I have this reverence for tap dancers because they're both musicians and dancers. Tap is the first of this lineage of African social dance; you can see in it the roots of everything that my company and I do. It feels like we're all cousins—it totally makes sense to work together. It's also helped me think about the percussive values of the things I do and think about choreography in a different way. I ask myself: What does this sound like in my mind, even if someone else can't hear it?
After your Pillow premiere, what's next?
We received a National Dance Project grant from New England Foundation for the Arts, so we're going on tour with Odeon. We're going to be able to keep living in the work, keep growing, keep seeing how it changes. Performance is ephemeral, but we'll get to live in it a little.
- Odeon (2018) — EPHRAT ASHERIE DANCE ›
- Ephrat Asherie Dance | NEFA ›
- Ephrat Asherie Dance at Festival 2018 | Jacob's Pillow ›
- 10 Minutes with Ephrat "Bounce" Asherie | Jacob's Pillow Dance ›
- Ephrat Asherie Dance: Step 4.2 - Jacob's Pillow Dance Interactive ›
- EPHRAT ASHERIE DANCE ›
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.