Dancers Trending

Reviews

ODC/Dance

Yerba Buena Center • San Francisco • March 12–28, 2010 • Reviewed by Rita Felciano

With Waving Not Drowning (A Guide to Elegance), choreographer Brenda Way offered audiences dainty needle pricks, while KT Nelson’s Labor of Love cut to the bone. For ODC’s spring season, the two premieres joined repertory works by the co-artistic directors, most notably, from 2009, Way’s In the Memory of the Forest and Nelson’s Grassland.

 

Taking her inspiration from a French version of Emily Post’s book on etiquette (which was probably outdated even when published in 1963), Way used a blessedly light touch for Waving, a modestly amusing foray into the world of socially imposed codes of behavior. Even Anne Zivolich’s unruly curls were pulled back into a proper chignon. Composer/singer Pamela Z collaged a lush score of vocalizations and readings from the French manual, including a litany of “should’s” that smartly complemented Way’s intricate choreography.

ODC’s intrepid dancers patiently rearranged themselves and each other into stiff-legged mannequins or alluring photo ops. Waving darkened as the men manipulated the acquiescent women in increasingly self-serving ways until a somnolent Vanessa Thiessen woke up and, at the end of an erotically abusive duet, knocked Jeremy Smith into the wings.

Just when you wondered where Way was going to take these depersonalized male/female encounters, she switched gears. Getting even is fair play, Waving suggested. A robust Yayoi Kambara stripped Aaron Perlstein to his skivvies. Then, armed with reams of paper, scissors, and tape, ODC’s women cut, draped, and glued the most fantastical garments on the men. Elizabeth Farotte adorned Corey Brady with a hoop skirt; Thiessen turned Smith into an angel. The results looked almost as good as those on “Project Runway.”

More emotionally involving was In the Memory of the Forest, a haunting evocation of a generation that faced exile from everything they knew. Based on Way’s memories of her Jewish mother-in-law, the choreography and David and Hi-Jin Hodge’s vernal video—which opened with images of the dancers cavorting in a sun-filled forest—suggested sweet nostalgia without a drop of sentimentality. Performing superbly throughout, Kambara and Smith shyly danced the young lovers, Zivolich and Daniel Santos a lustier version of them.

A physically aggressive take on relationship troubles, Nelson’s hyper-volatile Labor was set to Mozart’s ominous but wistful Piano Concerto No. 20 in D minor. The sound of the women dropping the men like cement bags set off struggles in which partners tried to get away and also hang on. Zivolich pinned down Smith’s feet and twisted around his legs as he tried to hop away. Quilet Rarang—who danced like a rocket about to explode—crawled away with Brady on top like a blanket about to suffocate her. The earth seemed to shake as these frantic citizens leapt, fell, scooted, rolled, flailed, and were stepped on. Dragging an inert Santos, Farrotte wore a look of merciless triumph. If this was war, Labor worked towards an armistice in respites of side-to-side waltz steps, quiet walks, or a hug freely given. Finally, the dancers shaped themselves into a wedge, at peace for the moment but ready to go.

A more benign volatility reigned in Nelson’s paradise of cohabitation she named Grassland. Egged on by Brazilian composer Marcelo Zarvos’ driving score, the dancers resembled pulsating life forms that mutated in the air, on the ground, and underwater. Though Grassland circled back to its opening allusion of nature’s cyclical awakening, the tip-toeing walks, overhead stretched arms, and upward glances proposed a dynamic verticality, perhaps a longing toward the light that streamed from above.

 

Carolyn Carlson

Théâtre National de Chaillot and the Louvre Museum

Paris, France

March 10–26, 2010

Reviewed by Karyn Bauer

Throughout March, Carolyn Carlson’s ambitious presentation of four works in two prestigious Parisian venues proved that at 67 she remains a master of her art. This San Francisco native is as iconic to improvisation as the Eiffel Tower is to Paris. Possessed by an intimate sense of movement, her mystic and physically powerful universe continues to inspire.

Carlson opened the performances at the Théâtre National de Chaillot with  Blue Lady (revisited), her emblematic 1983 solo performed for the first time by a man. When Finland’s Tero Saarinen donned Carlson’s shoes, hat, and dress, winnowing through the stages of a woman’s life, spectators wondered whether he was dancing Blue Lady or performing Carlson’s performance of the work. The confusion was intriguing.

Saarinen’s interpretation was at once unsettling in its similarities and completely new. Where Carlson’s ethereal extensions sparked with femininity, he appeared more grounded, more masculine, like her reflection in a warped mirror. Films of the original performance, projected periodically onto the backdrop, further enhanced this sharing of roles. At the show’s end, to the audience’s heartfelt applause, the two performed together in an unforgettably upbeat and dynamic improvised duo.

In a second program at the Chaillot, Carlson offered a hypnotizing short solo in the theater lobby, prior to the Parisian premiere of eau (water). In program notes, she wrote that she dances not for the eyes, but for the soul. As she weaved through a range of emotions, bringing herself and spectators into a trancelike state, that idea took on its full meaning.

Eau, for the Roubaix-based Ballet du Nord, which Carlson has directed since 2004, explored five aspects of water: primal, deep, violent, dirty, and pure. While the staging was dark and dramatic, sometimes lacking in clarity, the dancers were precise and intense. They evoked sensations from harmony and pleasure to suffocation and agony. When they shook and convulsed, they were bursting with poetry.

Petrified Movement brought dancers of the Junior Ballet of Paris and Ballet du Nord to the monumental sculpture rooms of the Louvre. A drumming score hummed as the public wandered through the galleries. As if incarnating their thoughts in slow motion, the dancers breathed life into echoing halls, creating an otherwordly conversation. With these performances, Carlson affirmed once again her ongoing love affair with Paris.

 

Dance Salad

Wortham Center, Cullen Theater

Houston, TX

April 1–3, 2010

Reviewed by Wendy Perron

Dance Salad offered a tantalizing array of mostly European companies that we rarely see in the United States.

The festival reached a poetic peak with Sidi Larbi Cherkaoui’s Loin, performed by Ballet du Grand Théâtre de Genève. In the last of three excerpts, one man dragged two others who were limp but alive. Two more joined, and finally the one in charge—a Mother Courage figure—was hoisted aloft. He ended standing tall with the others nested below like a family that has seen all sides of a war.

Another high point was Christian Spuck’s The Return of Ulysses (adapted for the festival), danced with bite by seven men and one woman from the Royal Ballet of Flanders. Eva Dewaele, as the reluctant Penelope, kept looking offstage right, waiting for Ulysses to come home, while the men tried to seduce her, mount her, tire her out. She emerged a hero—and so did Spuck for his witty and bold choreography.

Drew Jacoby and Rubinald Pronk’s luscious dancing lent Lightfoot/Leon’s Softly As I Leave You a richly melancholy tone. She began thrashing in a box, they found each other, he ended inside the box alone. Along the way you came to admire how they brushed past each other and somehow helped each other become themselves.

Admirable too was Mark Godden’s Miroirs for Mexico’s Compañía Nacional de Danza. In three excerpts, serene symmetrical moves eventually—haiku-like—resolved into surprising asymmetrical images.

The extravagantly tall Raphaël Coumes-Marquet, guesting from Dresden SemperOper Ballet, and lithe Esteban Berlanga of English National Ballet took turns watching each other dance in David Dawson’s Faun(e). Androgynous, sensual, stretching like taffy, they performed what was more like two overlapping solos than a duet.

Leticia Oliveira of Texas Ballet Theater shone in Ben Stevenson’s rhapsodic From the Corner, Pas de Deux, in which she and Carl Coomer circled one another with caresses and swirling lifts. Just the elegant way she turned her head revealed her to be a ballerina of the first order.

Netherlands Dance Theater contributed a stealthy, noirish excerpt of Kylián’s Toss of a Dice that held one’s attention completely. Lesley Telford and Medhi Walerski performed it with quiet intensity.

Companies from Spain, Hungary, France, and Norway presented less than stellar excerpts. Perhaps they would have fared better had they done whole pieces. Taken out of context, excerpts don’t always work. But whatever the shortcomings as seen by this viewer (who was a guest of Dance Salad), the level of dancing never dipped below excellent.

Pictured: Brenda Way's Waving Not Drowning (A Guide to Elegance). Photo by Steve diBartolomeo, courtesy ODC

Show Comments ()
Dancers Trending
Petra Conti in "L'Altro Casanova," choreographed by Gianluca Schiavoni. Photo by Costin Radu, courtesy of Petra Conti.

As a very shy little girl, my happy place was my room, where I would wear improvised costumes and giggle with happiness while dancing for an imaginary audience. I was raised in a family where dancing was "normal." My mom and sisters graduated from the national ballet academy in Poland, and I, of course, wanted to follow their steps. But I was never forced to. I am proud to say I discovered the magic of ballet all by myself.

Photo by Costin Radu, courtesy of Petra Conti

Keep reading... Show less
Giveaways

It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:

Keep reading... Show less
Dance As Activism
Dancers want you to vote! Screenshot via Dance for Democracy video.

The midterm elections are less than three weeks away on November 6. If you're registered to vote, hooray!

But you can't fully celebrate before you've completed your mission. Showing up at the polls is what matters most—especially since voter turnout for midterms doesn't have a fabulous track record. According to statistics from FairVote, about 40 percent of the population that is eligible to vote actually casts a ballot during midterm elections.

Many members of the dance community are making it clear that they want that percentage go up, and they're using social media to take a stand. Here's how they're getting involved:

Keep reading... Show less
Health & Body
The right tools can keep your body in peak shape. Photo courtesy Hugger Mugger

Dancers will do just about anything to increase their odds of staying injury-free. And there are plenty of products out there claiming that they can help you do just that. But which actually work?

We asked for recommendations from four experts: Martt Lawrence, who teaches Pilates to dancers in San Francisco; Lisa-Marie Lewis, who teaches yoga at The Ailey Extension in New York City; physical therapist Alexis Sams, who treats dancers at her clinic in Phoenix; and stretch training coach Vicente Hernandez, who teaches at The School of Pennsylvania Ballet.

Keep reading... Show less
Editors’ List: The Goods
via capezio.com

As of today, there are only 13 nights until the spoOoOokiest evening of the year—and just 1 week left, if you're planning to dress up over Halloweekend. Do you have your costume(s) yet?

Keep reading... Show less
Dancers Trending
Eduardo Guerrero is currently touring the U.S. with Gaditanía, his first work utilizing multiple dancers. Photo by Paco Lobato, Courtesy Guerrero

With a contemporary air that exalts—rather than obscures—flamenco tradition, and a technique and stamina that boggle the mind, Eduardo Guerrero's professional trajectory has done nothing but skyrocket since being named one of Dance Magazine's "25 to Watch" earlier this year. His 2017 solo Guerrero has toured widely, and he has created premieres for the Jerez Festival (Faro) and the 2018 Seville Flamenco Biennial (Sombra Efímera). In the midst of his seemingly unstoppable ascension, he's created Gaditanía, his first work utilizing a corps de ballet. Guerrero is currently touring the U.S. with this homage to Cadiz, the city of his birth.

Keep reading... Show less
Playlists
Bobbi Jene Smith, photographed by Jayme Thornton

At our cover shoot for the November issue, Bobbi Jene Smith curated one of the best lineups of YouTube music videos that I've heard in a long time. From Bob Dylan to Tom Waits, they felt like such perfect choices for her earthy, visceral movement and soulful approach to dance.

Keep reading... Show less
Dance Training
STEEZY's web player has options for tempo and viewpoint. Photo by Sam Caudle, courtesy STEEZY

Dance technology has come a long way from ballet variations painstakingly learned by watching fuzzy VHS tapes. Over the last few years, a dizzying number of online training programs have cropped up, offering the chance to take class in contemporary, jazz, ballet, tap, hip hop and even ballroom from the comfort of your own living room or studio.

Keep reading... Show less
Dancers Trending
Paul Taylor choreographed a solo for Alex Clayton in his March 2018 world premiere, Concertiana. Photo by Paul B. Goode, Courtesy Paul Taylor American Modern Dance.

Usually, it takes new recruits a few seasons to make their mark at the Paul Taylor Dance Company. But Taylor wasted no time in honing in on the talents of Alex Clayton. Only a few months after Clayton joined in June 2017, Taylor created an exciting solo for him in his new Concertiana, filled with explosive leaps and quick footwork. Clayton was also featured in new works by Doug Varone and Bryan Arias. At 5' 6" he may be compact, but onstage he fills the space with a thrilling sense of attack.

Keep reading... Show less
Dancers Trending
Scottish Ballet in Cinderella. Photo by Andy Ross via Scottish Ballet

Scottish Ballet is turning 50 next year, but they'll be the one giving out the gifts.

In 2019, the company will make five wishes from fans come true, as a way of thanking them for their loyalty and support over the years. "It can be anything from the dancers performing at a birthday party or on the banks of Loch Ness, or even the chance to get on stage and be part of a Scottish Ballet show," according to the company.

Keep reading... Show less
Rant & Rave
Precious Adams performing Harlequinade pas de deux for English National Ballet's Emerging Dancer competition 2018. Photo by Laurent Liotardo via ballet.org.uk

Recently, English National Ballet first artist Precious Adams announced that she will no longer be wearing pink tights. With the support of her artistic director Tamara Rojo, she will instead wear chocolate brown tights (and shoes) that match her flesh tone.

It may seem like a simple change, but this could be a watershed moment—one where the aesthetics of ballet begin to expand to include the presence of people of color.

Keep reading... Show less
Dancers Trending
"This type of creative work is not just about waiting for the duende to arrive, but rather a lot of work with fantastic people," says Rocío Molina of her process for Caída de Cielo, which is documented in the new film IMPULSO. Photo by Javier Fergo, Courtesy Jerez Festival

Flamenco dancer and choreographer Rocío Molina created her first full-length production, Entre paredes ("Between Walls"), at the age of 22. At 26, the prodigy received Spain's National Dance Prize, the most coveted dance award in Spain. Now 34, her rupture with tradition makes her no stranger to controversy. But it, and her fiercely personal and contemporary style, means that each new project is a fascinating voyage.

Molina is the subject of French filmmaker Emilio Belmonte's first feature length documentary, IMPULSO. The film, which makes its U.S. theatrical premiere at New York City's Film Forum on October 17, follows Molina for two years as she tours Europe presenting a series of improvised works. These improvisations ultimately inspired the creation of one of Molina's masterworks, Caída de Cielo ("Fallen from Heaven"), which premiered in 2016.

Keep reading... Show less
News
Joseph Gordon, here in "Diamonds," is New York City Ballet's newest principal dancer. Photo by Paul Kolnik, Courtesy NYCB

In a move that was both surprising and seemingly inevitable, New York City Ballet closed its fall season by promoting seven dancers. Joseph Gordon, who was promoted to soloist in February 2017, is now a principal dancer. Daniel Applebaum, Harrison Coll, Claire Kretzschmar, Aaron Sanz, Sebastian Villarini-Velez and Peter Walker have been promoted to soloist.

Newly promoted soloist Peter Walker has been showing his abilities as a leading man in ballets like Jerome Robbins' West Side Story Suite. Photo by Paul Kolnik, Courtesy NYCB

The announcement was made on Saturday by Jonathan Stafford, the head of NYCB's interim leadership team. These seven promotions mark the first since longtime ballet master in chief Peter Martins retired in the midst of harassment allegations at the beginning of this year. While Stafford and fellow interim leaders Rebecca Krohn, Craig Hall and Justin Peck have made some bold choices in terms of programming—such as commissioning Kyle Abraham and Emma Portner to create new works for the 2018–19 season—their primary focus has appeared to be keeping the company running on an even keel while the search for a new artistic leader is ongoing. Some of us theorized that we would not be seeing any promotions until a new artistic director was in place.

Keep reading... Show less
Rant & Rave
Social media validates extremes over clean, solid technique. Photo by David Hofmann/Unsplash

The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."

My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.

This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?

Keep reading... Show less
News
Ramasar and Catazaro, photos via Instagram

New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)

The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:

"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."

Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.

Keep reading... Show less
Rant & Rave
Instagram tags don't pay the bills. Photo by Andrei Lazarev/Unsplash

Earlier this week, a friend of a friend reached out to me seeking recommendations for a dancer/choreographer to hire. She wanted someone who could perform a solo and talk about their process for an arts-appreciation club. After a few emails back and forth, as I was trying to find out exactly what kind of choreographer she was looking for, it eventually emerged that she was not looking to pay this person.

"We are hoping to find someone who would be willing to participate in exchange for the exposure," she wrote.

Why do people think this is an okay thing to ask for?

Keep reading... Show less
News
Members of RIOULT check out the construction site. Photo by Penelope Gonzalez, Courtesy RIOULT

For over a decade, husband-and-wife team Pascal Rioult and Joyce Herring, artistic and associate artistic directors of RIOULT Dance NY, dreamed of building a space for their company and fellow artists in the community, and a school for future dancers. This month, their 11,000-square-foot dream opens its doors in the Kaufman Arts District in Astoria, Queens, a New York City neighborhood across the East River from Manhattan.

Keep reading... Show less
Popular
Photo by Ed Flores/MFA candidate Kara Madden rehearses undergraduate dance majors Gregory Taylor and Joe Ogren

In the final years of her decade-long career with the Lewitzky Dance Company, University of Arizona Associate Professor Amy Ernst began to develop an interest in dance injury prevention. She remembers feeling an urge to widen her understanding of dance and the body. Soon after retirement from the Company, she was hired by the Kerlan-Jobe Orthopaedic Clinic in Inglewood, California as a physical therapy assistant, where she worked for the next three and a half years. This work eventually led her to pursue an M.F.A. in dance at the University of Washington-Seattle. She remembers growing into the role of a professor during her time pursuing her degree. That incubation phase was critical. Ernst joined the faculty at the University of Arizona in 1995, and now as director of the M.F.A. program, mentors the new generation of dance faculty, company directors and innovators.

Keep reading... Show less
Editors’ List: The Goods
San Francisco Ballet soloist Koto Ishihara stretches in her warm-up boots. Photo by Quinn Wharton for Dance Magazine.

With cooler weather finally here, it's time to talk warm-ups. And while your dancewear drawer is probably overflowing with oversized sweaters, leggings and enough leg warmers to outfit the whole class, warm-up boots are often forgotten. To keep your feet and ankles cozy in between rehearsals, we rounded up dance warm-up boots that suit every style.

Bloch Inc. Printed Warm-up Bootie

via Bloch Inc.

Created by Irina Dvorovenko and Max Beloserkovsky, this collection comes in a variety of tie dye, floral and even butterfly prints.
blochworld.com, $48

Rant & Rave
Many of the dancers of 10000 Gestures weren't wearing much clothing when they started climbing on audience members. Photo by Ursula Kaufmann via nyuskirball.org

Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.

A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.

Keep reading... Show less
Viral Videos
This high school dance team's Harry Potter routine has gone viral. Screenshot via ThePac Walden Grove's YouTube channel.

What happens when you mix two really good things together? Sometimes, it can be magical. It's practically guaranteed when one of those elements is the wizarding world of Harry Potter, and the other is—wait for it—dance-team–style hip hop.

Keep reading... Show less
News
Adam McKinney's HaMapah/The Map. Photo by Lafotographeuse, Courtesy McKinney

When the Bible spoke of the "ingathering of the exiles," it didn't have dance in mind. Yet, this month, more than 100 dancers, choreographers and scholars from around the world will gather at Arizona State University to celebrate the impact of Jews and the Jewish experience on dance. From hora to hip hop, social justice to somatics, ballet to Gaga, the three-day event (Oct. 13–15) is "deliberately inclusive," says conference organizer and ASU professor Naomi Jackson.

Keep reading... Show less

Sponsored

You Might Also Like

476,651 likes

Sponsored

Viral Videos

mailbox

Get Dance Magazine in your inbox

Sponsored

Giveaways