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The Blind Men & the Elephant | 10 Hairy Legs’ 2014 New York Season at New York Live Arts….

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James' "Closing the Glass Door". Photo: Steven Trumon Gray

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James’ “Closing the Glass Door”. Photo: Steven Trumon Gray

Randy James, Artistic Director for 10 Hairy Legs has a strong vision for the repertory company he founded in 2012, a company composed entirely of men. It is a vision of challenge, of exploration and more than a little taking of chances. The company is not meant to reflect a specific point of view about the male experience, but rather to celebrate and explore the tremendous technical and emotional range of the male dancer.

Mr. James is building an impressive repertory by some very exciting choreographers, Julie Bour, Claire Porter, Tiffany Mills, David Parker and Doug Elkins. Mr. James himself just received the 2014 New Jersey State Council on the Arts Choreographic Fellowship Award Recipient.

10 Hairy Legs’ Scott Schneider in Julie Bour's "The Blind Men and the Elephant".  Photo: Steven Trumon Gray

10 Hairy Legs’ Scott Schneider in Julie Bour’s “The Blind Men and the Elephant”. Scenic Design: Benjamin Heller. Photo: Steven Trumon Gray

Julie Bour’s The Blind Men & the Elephant with a newly composed score by Kyle Olson, opened the evening for 10 Hairy Legs’ 2014 New York Season at New York Live Arts. The Blind Men & the Elephant is a well-known Indian tale from the Buddhist canon, but some assert it is of Jain origin. It illustrates the principles of pluralism and multiplicity of viewpoints, the notion that truth and reality are perceived differently from diverse points of view, and that no single point of view is the complete truth.

Ms. Bour, who danced with Angelin Preljocal and Ballet Preljocal, created a vision for this parable that was fascinating to say the least. The stage is a place of darkness, from varying angles light creeps onto the stage like a thief afraid of being discovered.  Upstage left is Benjamin Heller’s scenic design/structure, part statue, part art object, dimly lit imagery that strongly, though not outright, suggests an elephant. A long ivory tusk, a leg, a large ear that would suggest a large head.

10 Hairy Legs’ in Alex Biegelson Julie Bour's "The Blind Men and the Elephant".  Scenic Design: Benjamin Heller.  Photo: Steven Trumon Gray

10 Hairy Legs’ Alex Biegelson in Julie Bour’s “The Blind Men and the Elephant”. Scenic Design: Benjamin Heller. Photo: Steven Trumon Gray

Alex Biegelson begins a solo but he is soon joined by Robert Mark Burke. Mr. Burke is smaller in stature and dressed in all black and against the black drapery in the background. He is more of an apparition than person, a shadow that follows, a thought, a fleeting memory. Mr. Burke is reflected guilt or perhaps a thought that services unwanted at random intervals.

The dancers’ kinetic energy is relaxed as it rides though the body, loosely limbs collapse at the height of a movement. Transitions are quick with synaptic response immediate. The choreography does not necessarily stop at any point in the work but there are moments of stillness, like a breath inhaled before the start to the next phrase of movement. The choreography is introverted, reflective, searching. Scott Schneider pauses and looks around, a perplexed expressions on his face as asking who or why.

10 Hairy Legs’ Tyner Dumortier in Julie Bour's "The Blind Men and the Elephant".  Photo: Steven Trumon Gray

10 Hairy Legs’ Tyner Dumortier in Julie Bour’s “The Blind Men and the Elephant”. Photo: Steven Trumon Gray

Three dancers began a trio of movement, a conversation of individual thought, a conversation in their own language of movement. A language only they speak, a language of motion and emotion. They move around and with each other, sharing the burdens of one another, when two lift the shadow, Mr. Burke, there is a moment of shared intimacy, something felt but not spoken.

I am new to the work of Julie Bour, but if The Blind Men & the Elephant is any indicator what to expect from her then I am very excited to witness more of her work. Excellent endeavor by all involved….

10 Hairy Legs’ Kyle Marshall in Claire Porter's "Piano". Photo: Steven Trumon Gray

10 Hairy Legs’ Kyle Marshall in Claire Porter’s “Piano”. Photo: Steven Trumon Gray

The scenario for Claire Porter’s Piano, a text-driven piece, is simple, a world-renown pianist (Kyle Marshall), is ready to dazzle the gathered audience with his talent, he comes on stage with great fanfare, a true artist filled with his own self-importance…. Only to discover there is a slight problem…you see, the piano has not been delivered, the piano bench has arrived but alas, no piano. So, what does a world-renowned pianist full of his own self-importance do to stall for time till the piano arrives…he regales us with his peculiar idiosyncrasies and hilarious pre-performance rituals.

With a lot of bowing, kissing of his most cherished possession, his fingertips, Mr. Marshall takes on a rollercoaster of hilarity. His deadpan delivery of his all-consuming mental preparations and the sharing of information on what he planned to perform and how exactly he was going to perform it…complete with flourishes had everyone in stitches…

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James' "Closing the Glass Door". Photo: Steven Trumon Gray

10 Hairy Legs’ Tony Bordonaro & William Tomsaskovic in Randy James’ “Closing the Glass Door”. Photo: Steven Trumon Gray

Randy James’ Closing the Glass Door set to Haendel-Halvorsen Passcaglia for Violin/Cello and performed live by Sarah Biber on Cello and Jane Chung on Violin was a duet and performed by Scott Schneider and Nick Scissione.

Mr. Schneider and Mr. Scissione begin the piece by standing side by side, first one leans over and places his head tenderly on the other shoulders and then the other does the same to him. The dance builds in intensity; the dancers come together, then separate utilizing the stage fully. Curvature patterns of motion can be seen, the body never truly traveling in a straight line from point A to point B.

10 Hairy Legs’ Carlos Antonio Villanueva & Alex Biegelson in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

10 Hairy Legs’ Carlos Antonio Villanueva & Alex Biegelson in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

Mr. James approach to the use of the body in space is to maximize on the potential of the movement. An extended leg arcs away from the body forcing the spinal column to twist around the torso and thus the energy is fully utilized as the catalyst for the following phrase of movement.

Mr. Schneider and Mr. Scissione must be commended for their performance in Mr. James duet. It was with out a doubt my favorite performance of the night….Superb performance in a superb piece….Bravo indeed!

Doug Elkins’ Trouble Will Find Me and set to music by the acclaimed Pakistani musician Nusrat Fateh Ali Kahn is a work for five men. The choreography is a bit of hip-hop, part capoeira with a little salsa thrown in for good measure and then some deviations of Classical Indian Dance poured into the mix.

10 Hairy Legs’ Tyner Dumortier in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

10 Hairy Legs’ Tyner Dumortier in Doug Elkins’ “Trouble Will Find Me”. Photo: Steven Trumon Gray

It’s a fun work and is what it is…dancing for dancing sake…no subliminal messages or deep examinations of one’s angst. The dancers show such joy dancing the work it is infectious. Runs, slides, backflips and tumbles abound is this very athletic work. The choreography has a natural feel, nothing is forced. Mr. Elkin’s B-boy background surfaces periodically that lends a freshness to the work.

Randy James, who is on the faculty at Mason Gross School of the Arts at Rutgers University is among the foremost choreographers, educators and arts advocates, is the driving force of 10 Hairy Legs and serves as its Artistic Director. In addition to their work with 10 Hairy Legs, The dancers with the company  are also dance with such featured artists with The Bang Group, Stephen Petronio, Doug Elkins, Tiffany Mills Company and Zvi Dance, among others.

The mission of 10 Hairy Legs is to advance the understanding of the male role in dance through the creation, acquisition and performance of exceptional work.

 

 

 

 

 

The Prickly Point of Existentialism | The Boston Ballet & Alexander Ekman’s “Cacti”…

Boston Ballet's Whitney Jensen & Jeffrey Cirio Alexander Ekman’s “Cacti” Photo:  ©Rosalie O'Connor

Boston Ballet’s Whitney Jensen & Jeffrey Cirio Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

When the curtain opens for the Alexander Ekman’s “Cacti”, part of Program 2 of the Boston Ballet’s 50th-Anniversary Season at the David H. Koch Theater in Lincoln Center…well, at first you may not be sure what to think…I know I didn’t! Two dancers, a man and a woman are moving very slowly with their backs to the audience. An audio collage (taped text by Spenser Theberge that seems to be deliberately pretentious) is playing, you hear a conversation that the dancers are not speaking but perhaps thinking…”Hi Anna’,  “hey Lenny”…”how are you”…”good”…they then began to discuss how to proceed with the duet….he says “Um, put your feet here” then she says “ no you come over here”…this flows into some unusual assortment of body arrangements while they continue to discuss the value and merits of these various moves and how to transition into and out of them…You find yourself being pulled in, you’re not sure why or even how….but just like that you are totally vested….

Somehow, I’m still unsure how but remember being delighted, the duet and its clever dialogue has transitioned to 16 dancers kneeling on large white Scrabble tiles while a string quartet is evenly spaced behind them. The dancers are kneeling in a quasi-samurai position, sitting back on their heels, bodies upright and knees spread apart. Using their hands the dancers start pounding out rhythms on the tiles that grow with complexity, you hear the occasionally voiced “HEY!”….The musicians that were playing behind them are now moving amongst them, all the while the kinetic energy and the saccadic rhythms continue to build in intensity.

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O'Connor

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

This is Alexander Ekman, the young and much in demand Swedish choreography, he is known for his fast paced timing, witty humor, clever transitions and intentional sarcasm. His works are not so much dance pieces but rather dance-theater experiences; you will experience a visceral reaction, before you will be a visible merger of intellect and emotion, but, well, let’s just say with a little tongue-in-cheek thrown in. It is obvious the Mr. Ekman does not take himself too seriously, that is the brilliance of his work.

His deconstructed choreography is entirely his and reflects how he sees the use of the body in space. You will perhaps note the influences for Forsythe and Kylián or even a hint of Leon Lightfoot. But in today’s world of dance and art how can they not be reflected, it would be like denying the influence of Mozart or Haydn in classical music. He has danced with Royal Swedish Ballet, the Cullberg Ballet and the Leon Lightfoot I just mentioned can only be from his tenure as a dancer and choreographer with NDT II.

Rhythms are as important to his work as is the dancing itself, the breath that lends life, sound and syncopation are woven though his work like thread in a tapestry. Did I mention sarcasm, well there is that, a good dose…after the close of Alexander Ekman’s Cacti, when I was exiting the theatre I realized the this work, for all of its subtle, open-handed, sly and outright commentary was probably the most entertaining diatribe on existentialism ever…well, ok…perhaps not a diatribe…for the sake of getting along I’ll call it a primer on existentialism….

Alexander Ekman in his years as a choreographer has proved to be an artistic multitalented. He often makes film productions. Though usually integrated in his choreographies, these productions also create more and more interest on their own. In 2009 Ekman created the dance film 40 Meters Under for and with Cullberg Ballet, which was broadcasted on National Swedish television. That autumn he collaborated with the Swedish renowned choreographer Mats Ek on video projections for Ek’s play Håll Plats. Ekman also created an installation for the Modern Museum in Stockholm with dancers of Cullberg Ballet.

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O'Connor

Boston Ballet in Alexander Ekman’s “Cacti” Photo: ©Rosalie O’Connor

Alexander Ekman was born in Stockholm in 1984. He trained at the Operans Balettelevskola 1994-2001. From 2001-2002 he danced at the Royal Opera House in Stockholm. He then joined Netherlands Dans Theater II 2002-2005. During his dance career he worked with choreographers such as Jiří Kylián, Hans van Manen, Nacho Duato, Johan Inger and Mats Ek.

Between 2005-2006 Alexander joined Cullberg Ballet where he had his first breakthrough receiving a prize at the international choreographic competition in Hannover for his piece The Swingle Sisters, for which he also claimed the critics’ prize. In the same year he was chosen as one of the dancers to create a work; Unknown art? for Cullberg Växtverk  project, which was performed in Stockholm and Malmö in April 2006. During autumn of the same year Alexander created choreography, set and music to Flock Work for NDT II, which premiered in November 2006 and became his international breakthrough as a choreographer.

 

 

La, La, La Human Steps | “La La La Human Sex Duo No. 1″….

Édouard Lock’s works have appeared on film. 1987’s La La La Human Sex duo no 1, directed by Bernhard Hébert and starring Louise Lecavalier and Marc Béland, is a short black-and-white film which won six international prizes including one from the Festival international du film sur l’art de Montréal. Also directed by Bernhard Hébert, Le petit musée de Velasquez (1994), is a free adaptation of eight choreographed pieces from Infante, c’est destroy. Actress Markita Boies appears alongside the La La La Human Steps dancers in this colour feature film which blends contemporary dance with the world of the great Spanish Baroque painter Diego Velázquez.

As recorded from a PBS broadcast of Alive From Off Center back in the late 1980’s, this is an adequate VHS capture of a La La La Human Steps’ performance of Human Sex. There are a couple other releases of this performance at You-tube right now, but I think this one is probably a higher-quality capture. I hope everyone will enjoy it. I find it impossible to keep my jaw closed while I watch this. Truly amazing…

…In 1986 Mr. Lock won a Bessie Award for his 1985 work Human Sex, after the piece was shown during the Awards show Mark Morris screamed out “Genocide” at the top of his voice….

 

Leart Duraku’s “La Table D’Ehpysis” | Les Ballets de Monte-Carlo….

Les Ballets de Monte-Carlo

Choreography: Leart Duraku

Dancers:

Beatriz Uhalte Cisneros, Anjara Ballesteros,George Oliveira, Christian Tworzyanski, Alexis Oliveira, Daniele Delvecchio & Ediz Erguc.

The piece was created for “Les Imprévu”,  The Young Choreographers’ showcase and are collaborations made with the Scenography students from the city of Monaco’s Pavilion Bosio Art School.

“Martha Graham: The Early Years” by Merle Armitage….

Endpapers of Martha Graham by Merle Armitage. Los Angeles M. Armitage, 1937. Crossett Library

Endpapers of “Martha Graham: the Early Years” by Merle Armitage. Los Angeles M. Armitage, 1937. Crossett Library

Mary Anthony, Choreographer and Teacher of Modern Dance, Dies at 97….

MAnthonyMA14052651-0006Mary Anthony, recognized as one of the leaders of the modern dance movement as well as a national treasure and legend of modern dance, died in her studio home in the East Village in New York City on May 31, 2014 at the age of 97.  Former company member, Daniel Maloney who is the Artistic Director of the Mary Anthony Dance Theater Foundation, was like a son to her and took care of her to the end. Among her students were Donald McKayle, the modern-dance choreographer, and Arthur Mitchell, the New York City Ballet star and co-founder of Dance Theater of Harlem.

Others who studied and performed with her include Ronald K. Brown and Elisa Monte, as well Ulysses Dove and former major dancers in the Martha Graham company like Yuriko Kimura, Ross Parkes, Daniel Maloney (all close associates of Ms. Anthony in her own troupe), Richard Kuch and Steve Rooks.

Mary Anthony, a native of Kentucky, began her career with a scholarship in dance with Hanya Holm in the early 40’s, eventually joining the Holm Company and becoming her assistant. She was an original member of the radical modern dance organization The New Dance Group in the 1940’s. Ms. Anthony danced in concerts with Joseph Gifford as well as appearing in many Broadway Shows. Her staging of the London production of Touch and Go, in which she danced one of the leading roles, resulted in a long association as choreographer for Italian Musical Theater.

Mary Anthony

Mary Anthony

Ms. Anthony started the Mary Anthony Dance Theater in 1956. Following the premier of Ms. Anthony’s signature work Threnody – for which composer, Benjamin Britten gave his special permission to use his Sinfonia da Requiem – Louis Horst wrote, “Here is the most beautiful and complete dance composition this observer has seen.” Her company performed throughout the United States for over 40 years, including appearances at Jacob’s Pillow, The American Dance Festival, the Berkshire Music Festival at Tanglewood and toured as part of the Dance Touring Program of the National Endowment for the Arts, and for over 30 years presented home season performance in New York City. Jennifer Dunning of the New York Times described Ms. Anthony’s Songs as “hauntingly lyrical with the emphasis on simplicity and ageless craft.” In 1996, Mary Anthony Dance Theater celebrated its 40th Anniversary seasons at The Sylvia and Danny Kaye Playhouse in New York City. In 2004 Ms. Anthony reconstructed one of her oldest works, Women of Troy, on Dancefusion, which was presented in Philadelphia along with her legendary solos Lady Macbeth danced by Mary Ford Sussman. In 2009 her work The Devil in Massachusetts from 1952 was reconstructed by the 360º Dance Company.

An internationally recognized choreographer, Ms. Anthony has had her works added to the repertory of Pennsylvania Ballet, Bat-Dor Company of Israel, the Dublin City Ballet, Dancefusion in Philadelphia and the National Institute for the Arts of Taiwan. Ms. Anthony taught at the Herbert Berghof Studio for Actors in New York City for many years.  She taught at her own studio at 736 Broadway for over 50 years, retiring only last year.   In November 2013 a Tribute to Mary Anthony was presented as part of Fridays At Noon at the 92nd Street Y, honoring her legacy in modern dance and her 97th Birthday.

Mary Anthony has been an extraordinary presents in the dance community and the artistry and depth of her choreography is timeless. She will live on through the dancers she trained and the people who loved her. Andrea Pastorella, one of her long-time students stated the following, “Mary continued to teach, she never lost her “Eagle Eye” even when the right eye failed she never missed a blink. She would only give a compliment if she really meant it. Her honesty was relentless. One of the things that she loved most was teaching her choreography workshops which culminated twice a year at her studio with performances. She used to say: ‘These shows are what I live for’!”

Ms. Anthony was the 2004 recipient of the Bessie Award for lifetime contribution to the field of modern dance. In 2006 she received the Martha Hill Award. Other awards and honors include: Joy Ann Dewey Beinecke’s Balasaraswati Award from American Dance Festival, American Dance Guild Award of Artistry, American Dance Association Award, New York State Dance Education Award, and Channel One New Yorker of the week. In 2004 she was entered into the Dance Hall of Fame as part of an installation for the New Dance Group at the Saratoga Dance Museum and in 2011 she received a Citation from New York City Comptroller Scott Stringer at her 95th birthday, declaring November 11 as Mary Anthony Day.

Donations in Mary Anthony’s memory can be made to the Mary Anthony Dance Theater Foundation and sent to 736 Broadway, New York NY 10003.

Alicia Amatriain & Jason Reilly in Itzik Galili’s “Mona Lisa”….

MONA LISA

Choreography: Itzik Galili

Musical concept & composition: Thomas Höfs with Itzik Galili

Costumes: Natasja Lansen

World premiere: February 22, 2003, Stuttgart Ballet

Dancers: Alicia Amatriain & Jason Reilly

Celebrate Summer with Martha Graham!

Xiaochuan Xie in Martha Graham's Diversion of Angels.  Photo by Hibbard Nash Photography.

Xiaochuan Xie in Martha Graham’s Diversion of Angels.
Photo by Hibbard Nash Photography.

CLICK HERE FOR MORE INFO…

Lower Manhattan Cultural Council Presents the 13th Annual River To River Festival, June 19–29…

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RIVER TO RIVER 2014 FULL SCHEDULE:

Dates, times and locations subject to change—be sure to check www.RiverToRiverNYC.com for up-to-date information. Please note that all events are free, but due to limited capacity some require advance RSVPs.

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R2R BASH

June 19, 5–8pm

North End Way

Co-sponsored with Conrad New York, Goldman Sachs, and area restaurants & retailers

Food, Music, Social

TRISHA BROWN DANCE COMPANY

Exhibition: Embodied Practice & Site Specificity

June 20–29: Mon–Fri 12–5pm, Sat 10am–5pm, Sun 12–5pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

CARABALLO-FARMAN

The Signs of Paradise

June 20–29, 8am–8pm

Battery Park

Visual Arts

Two Women is an experimental performance which focuses on two women's age difference and multi-layered relationship. The collaborators explore how two bodies sometimes mirror each other in part or collide into one. Tomoe Aihara, a dancer and scholar from Tokyo, where she lives, joins Eiko. Photo: William Johnston

Two Women is an experimental performance which focuses on two women’s age difference and multi-layered relationship with Tomoe Aihara, a dancer and scholar from Tokyo, where she lives, joins Eiko. Photo: William Johnston

EIKO

Two Women

June 20 & 22, 2pm

LMCC’s Arts Center at Governors Island

Dance

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Terry Riley & Friends

June 20 at 7:30pm

Federal Hall

Music

VANESSA ANSPAUGH

What Was Wasn’t Here.

June 20 at 3pm

June 21 at 1pm & 3pm

Location TBA

Governors Island, Nolan Park

Dance

PETE M. WYER

And Death Shall Have No Dominion

June 21 at 11am

Various starting locations see website for details

Co-presented by Make Music New York and Poets House

Music, New Media

SUSIE IBARRA & ROBERTO RODRIGUEZ

Digital Sanctuaries, NYC

June 21 at 1pm, 3pm, 5pm

Starting Locations: India House (1pm); Peter Minuet Plaza (3pm); Tear Drop Park (5pm)

Commissioned by New Music USA’s Commissioning Music/USA program and presented as part of Make Music New York

RSVP required

Music, New Media

STRIJBOS & VAN RIJSWIJK

New York Walkscape

June 21 at 12pm, 2pm & 4pm

Various locations, see website for details

Co-presented by Make Music New York

Music, New Media

Photo; Marc Perlish

Photo; Marc Perlish

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Claire Chase & Svet Stoyanov

June 21 at 7:30pm

Federal Hall

Music, Visual Arts

R2R LIVING ROOM

Ephrat Asherie & Hector Arce-Espasas: Everyday I’m Hustlin’

June 21, 9–11pm

Nelson Blue, 233 Front Street

Music, Dance

TRISHA BROWN DANCE COMPANY

In Conversation: Embodied Practice & Site-Specificity

June 22 at 4:30pm

LMCC’s Arts Center at Governors Island

Talks, Visual Arts, Dance, Theatre, Music, New Media

ENRICO D WEY

Where We Are Right Now

June 22 at 7pm & 8pm

June 24 at 7:30pm

Pier 15

Dance

TERE O’CONNOR

Untitled

June 23–25 at 1pm

Elevated Acre

Commissioned by LMCC

Dance

COLLABORATIONTOWN IN DEVELOPMENT:

Staged Reading of New Work

June 23 & 26 at 2pm

June 24 at 5pm

LMCC’s studios at One Liberty Plaza, 12th Floor

RSVP required

Theatre, Open Studios

AYA OGAWA

Ludic Proxy

June 23 at 5pm, June 25 at 2pm, June 27 at 4pm

LMCC’s studios at One Liberty Plaza, 12th floor

RSVP required

Theatre, Open Studios

ORIGINAL MUSIC WORKSHOP’S EX-SITU SERIES

Kimmo Pohjonen & Jeffrey Zeigler

June 23 at 7pm

Pier 15

Music

SOULEYMANE BADOLO  , Of History (Virgule De L’histoire)

SOULEYMANE BADOLO , Of History (Virgule De L’histoire)

SOULEYMANE BADOLO

, Of History (Virgule De L’histoire)

June 24 at 3pm

June 25 at 1pm & 5pm

John Street Church Courtyard

Commissioned by LMCC

 Dance

NIGHT AT THE MUSEUMS

June 24, 4–8pm

Various Locations, see website for details

Visual Arts

ETHEL WITH SPECIAL GUEST KAKI KING

…And Other Stories

June 24 at 7:30pm

Brookfield Place, Winter Garden

Co-presented by Arts Brookfield

Music

TRISHA BROWN DANCE COMPANY

I’m Going to Toss My Arms—If You Catch Them They’re Yours

Open Rehearsal: June 25 at 7pm

Performance: June 26 at 7pm

Pier 15

Dance

REGGIE WILSON…

Moses(Es)

June 25 at 2:45pm

June 26 at 1:45pm & 3:45pm

St. Cornelius Chapel, Governors Island

Co-commissioned by New England Foundations for the Arts’ National Dance Project, Doris Duke Charitable Foundation & LMCC

Dance

R2R LIVING ROOM

Mike Iveson/Dj Hotel Scampi

June 25, 9–11pm

Barbalu, 227 Front Street

Music, Dance

THE 22ND ANNUAL POETS HOUSE SHOWCASE OPENING

June 26, 5:30–8:30pm

Poets House

Co-presented by Poets House

Writing/Literature

Photo credit: courtesy of the artist

Photo credit: courtesy of the artist

WALLY CARDONA & JENNIFER LACEY

The Set Up: I Nyoman Catra

June 26 at 5pm

June 27 & 28 at 1pm

120 Wall Street

Commissioned by LMCC

Dance

PIÑATA PROTEST, KUENTA I TAMBU (KIT), HELADO NEGRO & SLV FRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 27, 4–9:30pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

MariaHassabi_Premiere_2013-11-06

MARIA HASSABI Premiere

MARIA HASSABI

Premiere

June 27 at 3pm

June 28 at 3pm & 5pm

Bowling Green

Commissioned by LMCC

Dance

MARIA HASSABI, PAOLO JAVIER & KANEZA SCHAAL

In Conversation

June 27, 7–9:00pm

Poets House

Co-presented by Baryshnikov Arts Center & Poets House

Talks, Dance, Poetry, Theatre

Photo: Darial Sneed

Photo: Darial Sneed

OPEN STUDIOS WITH LMCC’S ARTISTS IN RESIDENCE

June 28–29, 12–5pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

ROBERT KOCIK & DARIA FAIN:

Ubiquitous Dividend: A Day-Long Celebration Of Robert Kocik’s Supple Science

June 28, 2–5pm (workshop), 6–8pm (performance)

Poets House

Co-presented by Poets House

Performing Arts, Social Practice

OKWUI OKPOKWASILI

Bronx Gothic: The Oval

June 28 & 29 at 3pm

LMCC’s Arts Center at Governors Island

Co-commissioned by Danspace Project, LMCC, & Performance Space

Performance Art, Dance, Theatre

Photo: Courtesy of the Artist

Photo: Courtesy of the Artist

BÉLO & CURUPIRA FRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 28, 5:30–9pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

SERGIO MENDOZA Y LA ORKESTA & REY VALLENATO BETO JAMAICAFRONTERAS:

New & Old Sounds from Latin America & the Caribbean

June 29, 1:30–5pm

The Uplands, South Street Seaport

Co-presented by Isabel Soffer / Live Sounds

Music

ON VIDEO:

New York Close-Up

June 29 at 4:30pm

LMCC’s Arts Center at Governors Island

Visual Arts, Dance, Theatre, Music, New Media

Photo credit: courtesy of the artist

Photo credit: courtesy of the artist

DJ NICKODEMUS

SEAPORT BLOCK PARTY

June 29, 6–8pm

Front Street, South Street Seaport

Music, Dance

R2R LIVING ROOM

Closing Party

June 29, 8:30–11pm

Nelson Blue, 233 Front Street

Music, Dance

ABOUT LOWER MANHATTAN CULTURAL COUNCIL (LMCC)

Lower Manhattan Cultural Council (LMCC) empowers artists by providing them with networks, resources, and support, to create vibrant, sustainable communities in Lower Manhattan and beyond. In 2014, LMCC will award over $500,000 in grants, provide 500 individuals with professional development skills and access to business leaders and arts professionals, place 100 individuals and arts groups in our studio residency programs, as well as present over 60 days of free cultural experiences for the public to enjoy. The combination of LMCC’s investment in individual artists and small arts groups, our robust network of partners in the public and private sectors, and our integrated approach to fostering local neighborhood efforts, aims to spark public imagination as well as inspire personal attachment and investment in NYC’s communities.

 

24 Horas Y Un Perro (24 Hours and a Dog | MalPaso Dance Company’s United States Premiere at the Joyce….

Isvel Bello Rodriguez, Randy Civico Rivas, Joan Rodriguez Hernandez & Manuel Ernesto Duran Calzado in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Isvel Bello Rodriguez, Randy Civico Rivas, Joan Rodriguez Hernandez & Manuel Ernesto Duran Calzado in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

The United States premiere for MalPaso Dance Company, as well as their first appearance outside of Cuba, was at the Joyce Theater. The MalPaso Dance Company was founded two years ago by Osnel Delgado and Daile Carrazana Gonzalez, both former members of Danza Contemporánea de Cuba.

The evening opened with 24 Horas Y Un Perro (24 Hours and a Dog), a 44 minute piece choreographed by  the artistic director Osnel Delgado. An added benefit, so sadly missing in so many NYC dance performances was that the score by Grammy Award-winning pianist and composer Arturo O’Farrill , was performed live.

Osnel Delgado & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Osnel Delgado & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

The movement for 24 Horas Y Un Perro (24 Hours and a Dog) is so relaxed, so intrinsic to the body that it appears improvisational. Something the dancers just whipped out of their body without forethought, allowing themselves to become conduits of expression that listens to the body’s natural rhythms, breath, pulse, heartbeat.

You immediately get the urban feel both from Mr. O’Farrill’s score, a fusion of the Latin culture with jazz, plus with the backdrop of city a skyline, on black but outlined with yellow. The work begins with Mr. Delgado moving slowly, almost contemplative in salience. When music is heard he begins to move fully, from standing he goes to the knees then back to standing then rolling, tumbling.

Four others join him on stage, a couple takes center stage and begins a duet that has an anger, not outright hostility but as if something needs resolving, an energy, strained, seems to run under their skin.

Dancers walk on and off the stage consistently during the piece. Groups work together in chorus, then it becomes a canon of movement that breaks into solos and duets. The work is abstract in form and the movement is original to its core.

It’s as if Mr. Delgado went into the studio and just started dancing. Technique is there, in fact all the dancers are impeccable trained, but the dancing does not rely on technique, the proper placement of an arm or leg in accordance with classical vocabulary. It is something much more free, technique is not so much thrown away nor is it deconstructed, but rather its rules and regulations have been discarded, stripped away, leaving pure movement that is pure expression.

Manuel Ernesto Duran Calzado, Joan Rodriguez Hernandez, Osnel Delgado, Maria Karla Araujo Martinez &  Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Manuel Ernesto Duran Calzado, Joan Rodriguez Hernandez, Osnel Delgado, Maria Karla Araujo Martinez & Dunia Acosta Arias in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Men and women are equal in partnering; an established camaraderie exists that shows the women are as strong as the men, physical and emotional equals, neither is reliant on the other but accepts and appreciates the others presence.

Small movements escalate into larger movements rapidly. Using both hands the dancers turn the head to their right as they release the head it turns back to front, shoulders scrunch and arms are raised to shoulder level, this is followed through by fuller body movement. This type of phrasing and variations of it run through the dance like a weave, the beginning threads of a tapestry of movement.

Taimy Miranda Ruiz de Villa in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Taimy Miranda Ruiz de Villa in Osnel Delgado’s 24 Horas Y Un Perro (24 Hours and a Dog). Photo: Roberto Leon

Individuality is expressed as a dancer steps from the group to establish a separate phrase of movement then that being done by the  other dancers. He then rejoins the group and two more dancers step out, then three and back to one. But is more than just an expression of individuality being stated, but also an expression of freedom, an expression of strength, a certain fearlessness noted.

After witnessing MalPaso Dance Company I have to call into question the United States embargo against Cuba (known in Cuba as el bloqueo), who has it affected the most. The people of Cuba who are denied access to the United States and the many trade sanctions imposed…or is it the United States, for we are denied the access and possible influence of the rich Cuban culture, a culture just 90 miles of Florida’s shore….

Osnel Delgado has received major Cuban awards including the Premio a Mejor Coreografia del Concurso Solamente Solos (Award for Best Solo Choreography), and a Special Mention award at the VII Iberomerican “Alicia Alonso” Choreography competition in Madrid. He was a member of Danza Contemporanea de Cuba from 2003 to 2011 and founded MalPaso Dance Company in 2013, where he currently serves as choreographer and artistic director.