Wednesday, August 12, 2009

A Communal Spirit of Hope

The 28th annual Downtown Dance Festival is a platform for everything dance
by Mary Staub
www.encoremag.com

During nine days this August, dance companies from near and far will blur some of the boundaries between performer and viewer, one dance form and another, and bring the expressivity of movement to workers, tourists, families, residents and passersby in Battery Park, Chase Plaza and on Governor’s Island. The 28th annual Downtown Dance Festival, hosted by Battery Dance Company, serves as a platform for everything from classical Indian, to contemporary ballet, and, like in previous years, audiences will have the opportunity to learn segments of the choreographies they’ve just watched. Jonathan Hollander, Battery Dance’s founder and artistic director, hopes that this year’s festival, which, as always, is free, will evoke a communal spirit of hope.

Is there a particular company you’re especially excited about introducing to New Yorkers?
We hope to present a folk dance ensemble, Kolkha, from the Republic of Georgia. It’s tantalizing because we’re still worried about the immigration aspect. This company has 30 dancers and it’s notable because of New York’s relationship with Georgia due to Balanchine’s Georgian roots. Also, from a political standpoint, I think it would be interesting to put a human face on what was front page news on the political side just a year ago.

What is the DDF’s overall focus this year?
People have been so depressed about the economy, the state of the world, and the state of the government for eight years. Now the Obama administration has ushered in a new era and people are embracing a communal sense of hope. I felt this at the opening of BAM’s Muslim Voices festival in June where people of all colors and economic brackets were shoulder to shoulder under the spell of music and world peace; everyone from patrons to people who scraped together the money for low-priced tickets. I just hope that same spirit carries through in our festival where there are companies from many ethnic backgrounds and there’s a similar diversity in the audience.

How did you select the participating companies?
We received over 90 applications this year. That’s up from 70 last year and the most we’ve received ever. We love to present international groups because we feel there is never enough cultural exchange. A curatorial panel, which I’m not a part of, selects based on our mission of wanting to broaden the experience all New Yorkers can have of dance, not just the cognoscenti.

August 15–23: Battery Park, Chase Plaza, Governor’s Island.

Monday, August 10, 2009

Taking Ballet Beyond the Bunhead

Morphoses/The Wheeldon Company brings dance to the people in three outdoor performances
by Mary Staub
www.encoremag.com

When Christopher Wheeldon and Lourdes Lopez founded Morphoses/The Wheeldon Company in 2007, they made it their mission to expand the reach of classical ballet through innovative, collaborative work, and underscore its pertinence in society today. This year, three outdoor performances in August promise to carry out this mission fully.

Wheeldon, a former resident choreographer of New York City Ballet, is creating a new work to new music by Martha Wainwright, both commissioned by City Parks Foundation, for the company’s first two outdoor performances, August 14 and 15 at Central Park SummerStage. Not only is SummerStage a venue where dance events typically attract a more varied audience than would a typical proscenium theater dance concert, but the collaborative nature of the performance—Wainwright will perform live—also suggests that not only ballet bunheads will come out to watch and listen.

The next day, August 16, Wheeldon and Morphoses’ dancers will bring a more interactive event to East River Park as part of City Parks Dance. During the afternoon, they will supplement a short performance with an educational session and reach out to audience members through discussions about the choreography.

A Landlocked Company With a Worldly Feel

Tulsa Ballet brings its global talent to the Joyce Theater
by Mary Staub
www.encoremag.com

Not all things Midwestern are bound by their landlocked location and limited to regional reach. The Oklahoman Tulsa Ballet, founded in 1956 and now comprising dancers from 15 different countries, is one exquisite example of an organization—here, ballet company—which has achieved national, perhaps even global, significance from within its interior setting.

Featured on the cover of Pointe Magazine last March, the company has made recent appearances in Dance Magazine, the New York Times and was described as “One of the best in the world” by the Portuguese national magazine Semanario when it made its international debut in Sintra, Portugal, in 2002. The company first came to New York, to Brooklyn College’s Whitman Hall, some 26 years ago and now, August 10–15, makes its Joyce Theater debut with a spectrum of works that, again, speak for its encompassing range.

Nacho Duato’s Por Vos Muero is set to old Spanish music from the 15th and 16th centuries and pays tribute to the social importance of dance during that time. Sir Kenneth MacMillan’s light-hearted Elite Syncopations, to Scott Joplin, demands an entirely different set sensibilities. And Korean choreographer Young Soon Hue’s This Is Your Life comes with Astor Piazolla’s tango and is inspired by the television program of the same name.

Since day one, Tulsa Ballet has both preserved classical 19th and 20th century repertoire and presented works by leading contemporary choreographers. Artistic director Marcello Angelini has successfully kept with this mission since his appointment in 1995 and thus guaranteed that Tulsa’s recognition continues to grow, year after year.

Saturday, August 1, 2009