Skip to content

Italian International Dance Festival NYC, 2nd Editon at the Julia Richmond Theater, Oct. 24, 2014….

invitation_IIDF_2014(1)

The Italian International Dance Festival NYC returns for the 2nd edition with a Lifetime Achievement Award to Edward Villella, and performances by several dance companies from Italy, or NY-based organizations directed by Italian artists.

Artistic Director Antonio Fini and Creative Director Tabata Caldironi will present and host the event that brings together dancers, companies, and choreographers from Italy and America in a spirit of exchange and collaboration – an “abbraccio dell’arte” (embrace of art).

Performers include Antonio Fini with composer Noa Guy, Dianna Folio in a tribute to Luigi, Michael Mao Dance, SLK Ballet and Staten Island Ballet joining forces to perform a new work by Michael Mao, and the award-winning Italian drag artist Platinette in an excerpt from his over-the-top new musical “La Sposa in Blu.”   Awards will also go to great American dancer of Italian descent, Edward Villella – Lifetime Achievement Award; dancer/performer Alessandra Corona, former principal with Ballet Hispanico, and Platinette.

ITALIAN INTERNATIONAL DANCE FESTIVAL NYC

Friday October 24, 7:30 PM

Julia Richman Theater

317 East 67th Street

Tickets:

$25; $15 for Students & Seniors

Reservations: 1.800.838.3006

46th Anniversary Season of the Lar Lubovitch Dance Company Featuring Alessandra Ferri Returns to the Joyce Theater Oct. 15-19, 2014….

Guest artist Alessandra Ferri and Lar Lubovitch Company dancer Tobin Del Cuore in Lar Lubovitch’ “Artemis in Athens”. Photo by: NYC Dance Project

Guest artist Alessandra Ferri and Lar Lubovitch Company dancer Tobin Del Cuore in Lar Lubovitch’ “Artemis in Athens”. Photo by: NYC Dance Proj

For its 46th Anniversary Season, the internationally renowned Lar Lubovitch Dance Company will present ANCIENT TALES, a single program of two new dances based on ancient myths – the world premiere of The Black Rose and the premiere of a new production, Artemis in Athens, featuring guest artist Alessandra Ferri. Both works are set to original commissioned scores, and every show will include live music.

The Black Rose, tells a dark tale drawn by Mr. Lubovitch from the primeval folk stories out of which fairy tales eventually arose. This dramatic work for 10 dancers is set to a score by Scott Marshall (composer of Lubovitch’s masterpiece, Men’s Stories).

Lar Lubovitch Dance Company’s Reid Bartelme, Mucuy Bolles & Barton Cowperthwaite in Lubovitch ‘s “The Black Rose”. Photo by: NYC Dance Project

Lar Lubovitch Dance Company’s Reid Bartelme, Mucuy Bolles & Barton Cowperthwaite in Lubovitch ‘s “The Black Rose”. Photo by: NYC Dance Project

The second premiere, Artemis in Athens, is a re-conceived production of Artemis, originally created by Lubovitch for American Ballet Theatre and performed at the Met. Based on the Greek myth of the goddess of the hunt, this new production features the legendary ballerina Alessandra Ferri in the title role with the Lubovitch Company dancer Tobin Del Cuore as Aktaion, and 10 top dancers from The Juilliard School as the ensemble.

It is set to a new orchestration of Christopher Theofanidis’ original score, performed live by Le Train Bleu under the direction of Ransom Wilson. At the time of the earlier premiere at the Met, dance critic Jennifer Dunning wrote that Lubovitch has “created a delicate aura of mystery and magic that is unusual on the ballet stage today” (The New York Times).

 Tickets start at $10!

Call JoyceCharge at 212-242-0800

All other tickets can be purchased online.

Purchase Tickets

joyce logo

175 Eighth Avenue

(at the corner of 19th Street)

New York, NY 10011

(212) 691-9740

Directions

Paul Taylor’s American Modern Dance Opens Its Inaugural Season at Lincoln Center March 11 – 29, 2015….

Piazzolla%20Caldera%201

Three-Week Engagement at Lincoln Center

MARCH 11 – 29, 2015

Features Major Works by Doris Humphrey & Shen Wei, 2 NY Paul Taylor Premieres as well as the world premiere of

Mr. Taylor’s 142nd as-yet-untitled piece

Live Music Planned For Every Program played by the renowned Orchestra of St. Luke’s

Conducted by long-time Taylor Music Director, Donald York.

$10 Orchestra Seats Available For All Performances

Arden

First announced last March, Paul Taylor American Modern Dance Company seeks to strengthen and expand American modern dance, one of our nation’s great indigenous art forms. With this new enterprise, Paul Taylor will:

  • Continue to create new work of his own and present it alongside acclaimed dances from his repertoire;
  • Mount legendary masterwork and new work from other choreographers – utilizing legacy companies or artists trained in the signature techniques of those chosen;
  • Assure that brilliantly performed live music accompanies Lincoln Center performances as intended by the choreographers
  • And, starting in the spring of 2015, Mr. Taylor will begin to nurture and commission a new generation of dance greats – programming them, over time, into his seasons on the world’s leading dance stage where they can reach huge new audiences.

PrometheanFire%202

Among the great masterworks of modern dance to be presented this Season is Doris Humphrey’s influential piece from the 1930s, Passacaglia and Fugue in C Minor. It will be performed by the venerable Limón Dance Company. Shen Wei Dance Arts will perform Rite of Spring, Mr. Shen’s brilliant take on the legendary Stravinsky score. The two dances were chosen by Mr. Taylor to help celebrate the indigenous American art of modern dance alongside his own masterworks.

Bertha

The Company’s 2015 Taylor repertoire includes

Arden Court (1981), Aureole (1962), Beloved Renegade (2008), Big Bertha (1970), Brandenburgs (1988), Cloven Kingdom (1976), Company B (1991), Diggity (1978), Esplanade (1975), Eventide (1997), Last Look (1985), Piazzolla Caldera (1997), Promethean Fire (2002), Sunset (1983), Syzygy (1987), The Word (1998), Troilus and Cressida (Reduced) (2006), the New York City premiere of Sea Lark (2014),

and the world premiere of Mr. Taylor’s 142nd yet to be named new work (2015).

The Company’s performances are

Tues, Wed &Thurs at 7pm

Fri at 8pm

Sat at 2pm & 8pm

Sundays at 2pm

Ticket prices for all performances except for March 12

$10, $30, $60, $90, $120 and $175

Visit www.ptamd.org/tickets

Premium $175 seats include an invitation to the Patrons Lounge during intermissions.

Tickets go on sale to the public on September 23.

“Contact” by Adrien Ouaki

Direction & Choreography: Adrien Ouaki

Starring:

Charlotte Sepiora, Golan Yosef, Tarek Aitmeddour & Adrien Ouaki

Co-directed & Edited: Lola Teyssedou

Camera & Light Design: Guillaume Pitel

Music: Roc Chaliand a.k.a FREON

Graded by Sam Tibi

Assistant Directors: Juliette Decomarmond – Jérémy Ouaki

In Collaboration with Ever Magazinefr.lemagazineever.com/

Adrien Ouaki With Tarek Aïtmeddour

Adrien Ouaki With Tarek Aïtmeddour

Image

Inception to Exhibition Produces Knees and toes/NYs and Tos Edition 2014 Showing, Oct. 4th at Ailey Studios 5B….

You're Invited knees and toes NYC

Drew Jacoby & Rubinald Pronk in Annabelle Lopez Ochoa’s “One”….

Drew Jacoby & Rubinald Pronk in Annabelle Lopez Ochoa’s One….

Drew Jacoby & Rubinald Pronk in Annabelle Lopez Ochoa’s One….

Premiering in 2008 “One” is an original work created by Annabelle Lopez Ochoa for Drew Jacoby and Rubinald Pronk. This is an excerpt of a performance at Dance Salad Festival in Houston, Texas.

“One”

Performed by Drew Jacoby & Rubinald Pronk

Choreography: Annabelle Lopez Ochoa

Original Music: Jacob Ter Veldhuis

Lighting: ML Geiger

Costumes: Benjamin Briones

DANCENOW 2014 Festival | Joe’s Pub Festival at The Public Theater….

DanceAn eclectic annual showcase, the 2014 festival will feature works by forty choreographers over four evenings from September 3 to 6, with an encore performance on September 13. The exciting lineup of artists features many fan favorites, including festival veterans and returning artists, alongside rising stars and festival newcomers. 2014 marks the 19th annual season of the DANCENOW Festival.

Wednesday, September 3

The Bang Group

Tze Chun Dance Company

Jane Comfort & Company

Mark Dendy Projects

Gibney Dance

Jamal Jackson Dance Company

LEDA

Chelsea Murphy and Magda San Millan

Skybetter & Associates

Amber Sloan

Thursday, September 4

277Dance Project

binbin Factory

Nicole Bindler & Gabrielle Revlock

Dance Cartel

Carolyn Dorfman Dance Company

Jennifer Edwards/Jen Ed Productions

Lawrence Goldhuber/BIGMANARTS

Harlem Dance Club

Bryan Strimpel

Verlezza Dance/Sabatino Verlezza

Friday, September 5

Adam Barruch Dance

Bridgman|Packer Dance

thefeath3rtheory/raja feath3rkelly

Jordan Isadore

Loni Landon

Malcolm Low

RG Dance Projects: Ruben Graciani

Steeledance

Take Dance

WonderTwins

Saturday, September 6

Banana Peel Dance/Aaron Draper

Gerald Casel Dance

Li-Chiao-Ping Dance

Katherine Helen Fisher Dance

Heidi Latsky Dance

Deborah Lohse/Cori Marquis/Donnell Oakley

Pengelly Projects/Fritha Pengelly

Claire Porter’s PORTABLES

Jessy Smith & Alberto Denis

Zvidance

All shows start at 7pm. Tickets are $15 in advance/$20 at the door. Tickets can be purchased by calling 212-967-7555, online at www.joespub.com, and in person at The Public Theater box office from 1pm to 6pm.

Joe’s Pub at The Public Theater

425 Lafayette Street

(btw East 4th Street & Astor Place)

NYC, NY 10003

Graham Deconstructed: Peter Sparling’s “Notes on a Voyage” | Sept. 16 & 17, 2014….

MG

Martha Graham Center for Contemporary Dance,

55 Bethune Street

New York, NY 10014

Purchase Tickets:

Sept. 16

Sept. 17

Donald Byrd’s “Septet” & Spectrum Dance Theater at City Parks Foundation’s SummerStage….

Spectrum Dance Theater’s Alex Crozier in Donald Byrd’s “Septet”. Photo: Ethan Wu

Spectrum Dance Theater’s Vincent Michael Lopez in Donald Byrd’s “Septet”. Photo: Ethan Wu

Donald Byrd’s latest work Septet, constructed around and through Charles Wuorinen’s modernist string quartet, is a work for a quartet and trio. Homage to past masters of dance such as George Balanchine and Merce Cunningham are woven into Mr. Byrd’s tapestry of movement. Nothing overt or obvious but as if Mr. Byrd’s intention is to acknowledge their mastery, to give the viewer a visual nudge or gentle reminder of their undeniable genius.

Mr. Byrd has been labeled the next George Balanchine and known for how he integrates black vernacular dancing with ballet. He applies construction and deconstruction, order and disorder like colors on a canvas. They are masterful applied like layers, establishing structure that is supported by the score’s complex melody and rhythm. The choreographer is not opposed to going against the grain of the music; he may use stillness to highlight a complex phrase or create phrases of movement that are rapid and repetitive to juxtapose moments of quiet reflection

Spectrum Dance Theater in Donald Byrd’s “Septet”. Photo: Ethan Wu

Spectrum Dance Theater in Donald Byrd’s “Septet”. Photo: Ethan Wu

In Septet the choreography shifts from simple to complex instantly and then back again. Mr. Byrd’s work has been labeled post-classical for his use of the body in space, its application to musical phrasing and for the ways he un-expectantly bleeds/blends/merges abstraction into his movement.

The seven dancers shine on stage, each remarkable and exquisitely trained, each committed and expressive. Enough can be said for Jade Solomon Curtis, she dances with a silky lyricism and an internal calm that is marvelous to watch. When she is on stage you cannot take your eyes off her. Alex Crozier is a master technician but he is so much more than that. Emotion flows through his dancing, each movement, each gesture seems laced with meaning.

As stated, Septet is a work for a quartet and trio. The two groups are like satellites caught in the gravity of the same star. The trio maintains a protagonist role and create moments that seem a dialogue that combines movement and emotion with seamless application

The quartet of dancers, all in black, follows the trio on stage. They are reminiscent of a Greek chorus, observing and commenting of the trio. Their movement is expressive and angular.

Spectrum Dance Theater in Donald Byrd’s “Septet”. Photo: Ethan Wu

Spectrum Dance Theater in Donald Byrd’s “Septet”. Photo: Ethan Wu

In both groups the body in space is fully explored, you see the hyper extended limbs, swiveling hips and rolling shoulder, the dancers occasionally slapping their bodies.  In the duets who is control, whether it is the man or the woman becomes a blurry line.

Donald Byrd  and his work were brilliant in the 90’s, I remember being blown away by such works as Life Situations: Daydreams on ‘Giselle’, The Beast: The Domestic Violence Project, Harlem Nutcracker and of course the Minstrel Show. Now with Donald Byrd’s Septet, there exists the  undeniable evidence that Mr. Byrd has entered into the realm of genius…

Donald Byrd became Artistic Director of Seattle’s Spectrum Dance Theater in December 2002.  From 1978 – 2002, he was Artistic Director of Donald Byrd/The Group, a critically acclaimed contemporary dance company, founded in Los Angeles and later based in New York. He has created over 80 modern dance works for his own groups as well as the Alvin Ailey Company, the Day­ton Contemporary Dance Company, Philadel­phia Dance Company (Philadanco) as well as for classical companies, including Pacific North­west Ballet, The Joffrey Ballet and Aterballetto.

His most recent works for Spectrum include a cycle of three evening-length works called Beyond Dance: Promoting Awareness and Mutual Understanding (PAMU), which featured World Premieres of A Chekhovian Resolution, created with Israeli choreographers Nir Ben Gal and Liat Dror; Farewell: A Fantastical Contemplation on America’s Relationship with China; and most recently, The Mother of Us All, a complex meditation on contemporary Africa.

 

Ballet Evolved – The First Four Centuries: The Men….

Carlo Blasis 1797-1878  

Widely regarded as one of the fathers of modern ballet, Former ballet mistress  for the Royal Ballet, Ursula Hageli explains how Carlo Blasis’s writings have inspired the ballet techniques of today. With demonstration from Royal Ballet dancer Marcelino Sambé. Piano – Tim Qualtrough.

Blasis is well known for his very rigorous dance classes, sometimes lasting four hours long. Blasis insisted that his students learn theories and definitions of dance steps. He trained all of Enrico Cecchetti’s teachers and it is thought that Blasis’s influence in his training is what led Cecchetti to create the Cecchetti method of ballet.

Auguste Vestris 1760-1842

Join Ursula Hageli as she introduces “le dieu de la danse” – Auguste Vestris. With performance from Royal Ballet dancer Valentino Zucchetti. Trained solely and with the greatest care by his father, Gaétan Vestris, Auguste Vestris made a single unofficial appearance at the Opéra (and was dubbed Vestr’Allard by a newspaper critic) in 1772, at age 12. Although he revealed extraordinary promise, his father withdrew him for further training before permitting his formal debut in 1776. Being admitted into the company, bearing the name Vestris alone, he rose rapidly to the forefront. As a dancer possessing unprecedented virtuosity, Auguste Vestris’s dazzlingly athletic style was very different from his father’s.

August Bournonville 1805-1879

Former Principal with The Royal Ballet, Johan Kobborg introduces the style of August Bournonville in rehearsal with Artist Marcelino Sambé, with former ballet mistress Ursula Hageli and pianist Tim Qualtrough.

August Bournonville, the man known as the father of the Danish ballet style of ballet. He studied under the Italian choreographer Vincenzo Galeotti at the Royal Danish Ballet, Copenhagen, and in Paris, France, under French dancer Auguste Vestris. He initiated a unique style in ballet known as the Bournonville School.

The Bournonville method appears fluid and effortless, even though it is technically challenging. One of the key features of the Bournonville technique is its emphasis on quick footwork, beaten jumps and batterie. Graceful epaulement , or placement of the shoulders, is also important. In addition, the technique requires graceful, basic arm movements as well as a lifted torso.

Many of the movements begin and end in fifth position, and pirouettes are executed by placing the foot into a low develope position. A Bournonville dancer’s eyes often follow the moving leg, striving for an expression of kindness.

Marius Petipa 1818-1910

One of the greatest ballet choreographers, Marius Petipa, created over fifty ballets. His exotic La Bayadère was given its premiere at the Bolshoi Theatre in St Petersburg in 1877. It was regularly performed within the former Soviet Union throughout the 20th century but was almost unknown in the West until 1961, when the touring Kirov Ballet performed the famous Kingdom of the Shades scene. Natalia Makarova saw the ballet as a child in Leningrad and created this version for American Ballet Theatre in 1980.

Enrico Cecchetti 1850 – 1928

Enrico Cecchetti was one of the most influential ballet teachers of all time, coaching greats such as Pavlova and Nijinsky. He trained under Lepri, a pupil of the great Carlo Blasis who codified the technique of Classical Ballet in 1820. Blasis ideas were developed further by Cecchetti who grouped the Classical vocabulary into six sets of exercises, one for each day of the week. This work was recorded and published in 1922 by Cyril Beaumont, assisted by Stanislas Idzikowski and Enrico Cecchetti himself. Further volumes were compiled by Margaret Craske and Derra de Moroda. In 1918, Cecchetti settled in London, laying the groundwork for the formation of The Royal Ballet. Join Ballet Mistress Ursula Hageli and dancer Nicol Edmonds as they demonstrate one of Cecchetti’s fiendishly hard adage exercises. Piano – Tim Qualtrough