From a choreographic and aesthetical production perspective, Mary Wigman (1886 – 1973 Germany) is, after Laban, the first relevant, European, modern dance figure reported by modern dance history.
As much as Laban, Dalcroze and Delsarte (who are of an extreme importance mainly because of their ideological contributions), Wigman develops her own understanding of dance and introduces it in a significant amount of choreographic pieces.
She opposes radically to classical dance values and methods, in a search for a dance that would accomplish an expressive function of the dancer’s soul.
Concerned about a close relationship between spirituality and movement, she defends the idea of invisible forces that would give life to dance. From this point of view, she somehow recreates the cathartic function attributed to dance in ancient societies.
Her choreographic work and thought are considered as part of the artistic trend called German expressionism. Her practice itself receives the name of dance of expression or “Ausdrückstanz” (in German).
Wigman’s dance pieces are remembered for their tragic, dark character and are described as introspective dances that reveal vibrant, vital, excited and passionate inner states of being.
She engages herself into the social and educational mission of the choreographer, by creating several schools and transmitting her artistic legacy. Among her renowned students are Hanya Holm, Harald Kreutzberg, Gret Paluca and Kurt Joos.
According to modern dance history, she influences the whole German dance trend during the 1920s and 1930s and what follows after the war.
Her ideas are brought to the United States of America by Hanya Holm, who passes the heritage to figures like Alwin Nikolaïs.
Still, in other countries like France, for example, Wigman heirs are responsible for the respective modern dance trends at the time.
Her most famous piece is called “Hexentanz” (The Witch).
PERIDANCE CAPEZIO CENTER
led by Founder and Artistic Director Igal Perry, celebrates its 33rd Anniversary with an outstanding one-night Gala performance, honoring and promoting diversity. Join us for this summer extravaganza, celebrating 33 years of
DIVERSITY IN DANCE!
Friday, June 1oth, 2016 at 7:30 pm
Marian Anderson Theater, Aaron Davis Hall
City College of New York
Stunning performances by Peridance Contemporary Dance Company, the Limon Company, and The Peridance Youth Ensemble. Additional performances by The School at Peridance, the Certificate Program, Peridance Faculty, and Peridance partners Djoniba Dance Centre and BAILA Society.
Tickets Start a $20
Aaron Davis Hall is located on the campus of The City College of New York, between West 133rd and 135th Streets on Convent Avenue.
Convent Avenue is one block east of Amsterdam Avenue
and is the extension of Morningside Avenue beginning at 127th Street.
Matthew Rees & Bradley Waller
“November” by Max Richter
From the album “Memoryhouse”
Filmed & Directed by
Michael Nunn & Willian Trevitt
It is perfectly acceptable to be imitative, particularly when you are young, when you are trying to understand the shape of a stage and how your body works on it. You use your history, whatever it is, and mine included so many people with whom I had studied or who had lived in my mind and heart for so long. People were correct to see traces of these people in my movements and in my choreography.
Art is memory. It is the excavation of so many memories we have had–of our mothers, our best and worst moments, of glorious experiences we have had with friends or films or music or dance or a lovely afternoon on a sloping, green hill. All of this enters us and, if we are artists, must be shared, handed over to others. This is why it is so important to know what came before you. It is also important to understand that things will follow you, and they may come along and make your work look pedestrian and silly. This is fine; this is progress. We have to work with what life presents to us, and we have to work as well as we can while we can. We have limitations as well as the occasional resources to overcome them.
This is why I feel it is best to exhaust yourself as much as possible: to expunge all the memories, all the bad habits, all the energy you have. And then begin again. There is always worth in the true artist, but there is also the reality of time and energy expiring, of the world moving on, of the art changing.
Live in your time. Work well in your time. And extend a hand to the past and keep your eyes on the future. There’s my advice.
Sidra Bell Dance New York returns to Baruch Performing Arts Center with a world premiere for seven performances from June 1-5, 2016 in New York City. The award winning dance Theater Company is collaborating with electronic sound artist and Juilliard trained Alexey Gorokholinsky as well as resident lighting designer Amith A. Chandrashaker for an exciting live performance event at Baruch Performing Arts Center.
L O S T L A N G U A G E is an evening length abstraction that archives the stories, memories, and histories embedded in the bodies of the performers and physicalizes that stored information to illustrate a mysterious and ambiguous landscape of subtexts and images with great currency. The company has had a fantastic year of touring and educational outreach that has spanned Sweden, Slovenia, Bulgaria, San Francisco, Albany, Boston, and Pennsylvania. We are ecstatic to bring our newest work home this June.
Directed & Conceived by
Tushrik Fredericks, Misa Kinno Lucyshyn,
Rebecca Margolick, Madison Wada & Leal Zielińska
Production / Lighting / Décor:
Original Score / Live Performance:
Baruch Performing Arts Center
Within Reach: A Dance Film
A chance encounter that awakens a deep desire for something more…
Choreographed & Danced by
Isaies Santamaria Perez & Eila Valls
Steph, Ollie & RubyBird Studio
From Network of Pointes to further discourses on contemporary ballet May 20-21, 2016 An SDHS Special Topics Conference at the Center for Ballet and the Arts, New York University, and at Barnard College, Columbia University.
Contemporary ballet is undoubtedly a recognizable genre for most dancers. It is identifiable. It appears to be flourishing. It has a bit of an “it” factor. It piques students’ interest. But what is contemporary ballet?
The conference seeks to cultivate a discourse of “contemporary” ballet in relation to traditional ballet vocabularies, narratives, and iconography. The 2015 issue of Conversations across the Field of Dance Studies: Network of Pointes began to articulate features of this genre, and this conference offers those interested in contemporary ballet’s historiography a forum for discussion
The Center for Ballet and the Arts (CBA) and Barnard College, Columbia University in New York City will serve as conference locations.
This event is co-hosted by the CBA and Barnard College, Columbia College. It is sponsored by the Faculty of Education at the Royal Academy of Dance, the Dance Department at Loyola Marymount University (Los Angeles), the Dance Department at Skidmore College and SLIPPAGE: Performance|Culture|Technology.
Society of Dance History Scholars advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences. As a constituent member of the American Council of Learned Societies, SDHS holds wide-ranging annual conferences; publishes new scholarship through its proceedings and book series; collaborates regularly with peer organizations in the U.S. and abroad; and presents yearly awards for exemplary scholarship, including the de la Torre Bueno Prize®.
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In 1944 Salvador Dali collaborated with Leonide Massine, originally from Serge Diaghilev’s Ballets Russes, on the ballet “Mad Tristan.”. It was inspired by Wagner’s 1865 opera “Tristan and Isolde.” For the first act Dali created a twenty-seven by forty-five feet backdrop that in 2009 was found in a box stored at the Metropolitan Opera. It is Dali at his best with what, I have read, is supposed to be Tristan holding a dandelion that partial covers his face while grasping something (his heart?) to his chest. Before him stands a macabre Isolde with her head swathed in mummy-like bandages and her very large claw-like hands are reaching out to Tristan. This backdrop was the inspiration for “La Verità.”
“La Verità” is the brainchild of the Swiss contemporary circus maverick Daniele Finzi Pasca and Julie Hamelin Finzi. BAM presented this mesmerizing theatrical homage to Salvador Dali as part of its 2016 Winter/Spring Season.
Now I must be brutally honest…it is seldom that I am so immersed in a performance that I am literally on the edge of my seat, especially for the whole performance. Sections of a dance or theatrical work…yes…but never a whole performance…Well, La Verità did just that.
OK, perhaps there was one other occasion in which I sat on the edge of my set for the whole of the performance….it was when I was 9 and my parents had taken me and my brother to see the Ringling Brothers and Barnum & Bailey Circus….I remember it still…I was transfixed….
To say La Verità was a tad surrealist would be an understatement. Piano playing hippos, yes, I said piano playing hippos, a male contortionist that twisted his body in such a way I was unsure which was his front and which was his back…until he used his knees to stand. I mean, really…how many times have you witnessed someone twist their torso almost a full 360 degrees…
Have I mentioned the feathers, there were a flurry of feathers…actually a flurry of white (perhaps ostrich) feathers…people kept running on and off the stage either wearing feather headdresses and/or carrying large Vegas show girl type feather fans or carrying feathers arranged in what appeared to be a dandelion…and just in case you craved more feathers…..the entire cast appears in tutus made from white (again, perhaps ostrich) feathers except for one fellow…after all we all know at least one non-conformist … David Menes is wearing a red (I bet there’re ostrich) feathered tutu, he’s of slight build with a bald head and he is wearing pointe shoes….you can’t miss him, he appears in this elaborate get-up sporadically through-out the performance…and I almost forgot…when he is en pointe his legs are bent and turned in such away so he appears more than a little bow-legged.
Absurdity runs rampant throughout this mad mix of circus, vaudeville and physical theater…but there are also moments of divine beauty. After some death defying roller skating in which Jean-Philippe Cuerrier spins in mad circles with poor Moira Albertalli’s body contorted in every position they could think of. Mr Cuerrier evens says at one point…you know this is very dangerous…well not so much for me…but for her it is very dangerous!
As the duo are finishing up their act, while the audience is clapping and shouting, a white grand piano is rolled on to the stage. A woman comes out and elegantly takes a seat and starts to play sublimely. Soon afterwards a woman joins her on stage and begins to sing a hauntingly tender ballad in Italian (or I think it was Italian…)….
A woman tumbles and rolls on to the stage, she is in all-white and has several white hoops, she is soon joined by a man, then several men…all are accompanied by one or several white hoops. The man and the woman start to roll the hoops and manipulate them so they move in a perfect circle always returning to where they started. While the hoops are traveling in wide arcs the two began to move acrobatically, creating moments of intense beauty. The man starts to manipulate five to six hopes, sending them in complicated patterns around him. Between the piano playing, the Italian ballad and everyone in white with the white hoops…there was a deep sense of serenity on the stage…it was wonderful to watch….
After various segments of the performances Dali’s backdrop is lowered. It acts as a comma does in a sentence. It is used to separate different aspects of the work…
When the backdrop comes down, as a rule, Rolando Tarquini would come on stage. Throughout the performance he provides us with a witty dialogue, a conversation if you will of what is about or has occurred on stage, what is going on backstage the we cannot witness inter-spliced with delicious bits of gossip. Or that’s what I think he is saying…he has such a thick accent that I can only catch a word or two out of every five or six…regardless of whether he can be understood or not…his manner of story-telling is priceless!
Another sublime moment of grace and beauty was when aerialist Francesco Lanciotti performed on the silks. He moved with such grace and daring, his shoulder length hair would accentuate his movements adding an organic curve or arc to the ending of everything he did. He performed feats that took untold strength and made them as if it was mere play for him. Holding a silk band with one hand he would twist his body forward, back and out to the side….doing all this with his body parallel to the floor…It was an inspired performance and I am richer for having experienced it…Bravo Mr. Lanciotti, bravo indeed….
Geoffrey Holder’s Banda dance debuted in the 1954 Truman Capote/Harold Arlen musical House Of Flowers. Holder the Baron of The Cemetery (based on the Haitian Loa of Death Baron Samedi) and received both a performer and choreographer credit in the program. The Broadway musical takes place somewhere in the West Indies during Mardi Gras weekend.
The cast of the musical was a who’s who of African-American talent including Pearl Bailey, Diahann Carroll, Juanita Hall, Ray Walston, Carman de Lavallade, Alvin Ailey, Ada Moore, Arthur Mitchell, Walter Nicks Louis Johnson, and Glory Van Scott. Oliver Messel won the Tony Award for Best Scenic Design, the show’s only nomination. The show closed on May 21, 1955 after 165 performances.
The 8-minute fashion film debuted in three sold-out shows at TriBeCa Cinemas during last month’s Fashion Week. It was conceived and directed by Wan, working closely with fellow collective member and Director of Photography Pete Konczal. It features contemporary dancers Lilija Rúriksdóttir & Isaies Santamaria Perez dressed in exquisite pieces by Herve Leger, Diane Von Furstenberg and Azzedine Alaia. Loni Landon and Gregory Dolbashian provided the poetic, expressive choreography.
“Charlie’s approach was fresh and risky,” said Konczal of his first collaboration with Wan. “He wanted to really light the stage, to let the dancers move and exist in this environment. We kept the camera on a dolly, rolling freely with no track, so the dancers could transition through the light and be affected by it. This collective as a whole is very much driven by a like-mindedness, a desire to take chances.”
Director: Charlie Wan
Executive Producer: Chrlx Beauty
Producer: Juan Reinoso
Dancers: Isaies Santamaria Perez & Lilja Rúriksdóttir
Choreographers: Greg Dolbashian & Loni Landon
Director of Photography: Pete Konczal
“Lean On Me” Written & Arranged By Charlie Wan
This Film Is Shot On Arri Alexa In Cinemascope