Do you think ballet is on a path to becoming an obsolete art form? Well that is what one Jennifer Homans, dance critic for The New Republic, scholar at NYU, and former professional ballet dancer, seems to believe.

Homans argues that “ballet companies have become ‘museums for the old,’ that too many dancers have traded artistry for ‘unthinking athleticism,’ [and] that [modern] choreography ‘veers from unimaginative imitation to strident innovation.'”

The New York Times, in response to Homans’ book from which the above is quoted, interviewed a handful of dancers and critics to see their views on ballet in today’s world.

Sarah Kaufman, a dance critic for the Washington Post, argued that though Homans claims may have sound founding, this is often due to economic situations rather than lack of talent or artistry. Edward Villella, a former dancer with the New York City Ballet, also described financial challenges as a huge obstacle for ballet companies.

My favorite response to the question of whether ballet is a dying art form came from Michael Chernov, husband of a dancer who this year opened the Gelsey Kirkland Academy of Classical Ballet in New York. According to Chernov, “it’s not form that’s the essence of art — it’s content. If the content is deep, then the form will find itself.”

I believe that Mr. Chernov’s words can be applied to all forms of art, and that he has a wonderful approach to doing so.

And I personally do not believe ballet is in danger of extinction. Do you?

Jean Butler, left, during a Riverdance performance

Riverdance is a dance that probably almost everyone has heard of. It is the Irish foot dance that weaves Celtic mythology with Irish history in a series of complicated foot movements and step-dancing styles. It is face paced and requires years of technical training. It is a very distinct dance style. So when Jean Butler, the lead dancer of Riverdance throughout the nineties, decided to shift to a different genre of dance, many assumed that it would be impossible for her to out-do her Riverdance performance, one that she is so closely associated with. However, in a dance review written by Alastair Macaulay for the NY Times, he claims that it is possible she has surpassed her Riverdance days, and certainly those with years more practice in the world of contemporary dance.

Jean Butler performed “Day”, a 45 minute piece choreographed specifically for Butler by Tere O’Connor at Danspace Project. Alastair calls Butler “still elegant, reserved, cool; her feet, posture and brio are still exceptional. But she’s also testing out many new personas: bending that torso, lying down on the floor, puffing her cheeks out like a balloon, hurling her parted fingers like claws and suggesting a snarl, wittily deadpan in sudden shifts of mood.” This description is very different from the Riverdance style of dance. In Riverdance, one’s arms remain stiff and straight by one’s sides, while the feet do virtually all the work. However, in this particular dance piece, Butler experiments with different body movements, many of them coordinated by shifts in the mood.

Like the postmodern dances of Merce Cunningham and Yvonne Rainer, “Day” doesn’t have a continuous flow throughout, but rather switches from one theme to another in a series of non sequiturs. In this piece, Butler exemplifies how versatile she can truly be. I think that is what separates truly talented dancers, as well as all artists, from the rest – when they can attempt new styles of dance (or art) and still be great at what they do.

Butler, in "Day"

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Recently coming to an end on November 13th, a show called This Time Tomorrow was being performed in the basement of Duryea Presbyterian Church in Brooklyn.  Audience members had to sign up online to see this show, and were directed through email to meet up at the Blue Marble, which is around the corner from the church.  Here, each member of the unsuspecting audience was given a free hot chocolate before being sent to the basement of the church.  Once there, the people were led to a small area of seats, with the front row of seats nearly touching the curtain.  The curtain opened upon a seemingly plain basement, complete with just a few tables, chairs, balloons, and streamers.  Also on “stage” was performer Paola Di Tolla, who stared at the audience before frantically contorting her body and face into strange positions.  She seemed to be trying to “desperately…entertain important, easily dissatisfied guests, whose mood she couldn’t quite gauge.”  After a little while of this, Di Tolla was joined by two other performers (Ben Beckley and Dan Cozzens), who immediately joined in with Di Tolla’s crazy gestures.  The three tried a number of different things to try and gain the approval of their audience.  They danced and ran around, moved furniture, acted out a number of different scenarios, dragged themselves along the floor.  The audience was no doubt confused, to say the least, by the strange happenings on the stage.  However, this was the goal Di Tolla, Beckley, and Cozzens wished to achieve when writing this show.  They thought of their performance in This Time Tomorrow as “practicing a performance that we couldn’t predict.”

This Time Tomorrow was different each time it was performed, depending on how the audience reacted to what was going on before them.  Even though this show was planned to be this way, every performance, whether it be dance, music, or theatre, is different upon each performance.  No matter how a performer may try to make the show exactly the same each time, they cannot help but be affected even a little by the environment created by a particular audience.  If an audience reacts positively to what is being performed, the performer is likely to get more pumped and excited, possibly generating a better and more interesting show.  On the other hand, if an audience clearly looks bored during the performance, the performer may very easily get discouraged, resulting in a sort of tired, less energetic show.  An audience contributes to a show just as much as the performers themselves do.

You can take a look at the article here.

Tchaikovsky’s “The Nutcracker” has been performed in the United States for seventy years. It was first performed in St. Petersburg, Russa in 1892, the country of its origin. It was brought to the United States in 1940 when the Ballet Russe de Monte Carlo presented it in New York City.

And according to the New York Times Article (which can be read here), America has really “taken it to heart” since then. This story of children and toys and Christmas sentiments has the country enthralled. We have the most performances across the nation annually. In America, we have also altered the dance very radically. Across the country this year there have been/will be performances that include George Washington, hip-hop, and a gay-and-lesbian dance along production.

Russia hasn’t nearly treasured their own dance nearly as much as they have treasured other performances such as “Swan Lake” or “Giselle.” Europe recently adopted the tradition of having an annual performance. So why does the United States feel so close towards this dance? There were many different reasons tackled in the article, and a few stuck out to me.

The first is the concept of innocence. “The Nutcracker” is about a girl who travels to different lands. She freely travels over new terrain, with no powerful intent, no corrupt motives as to why she would travel; she explores for explorations sake. Another reason is the lack of social controversy. This play doesn’t seem to try and tackle the always-present issue of class-struggle. Social class isn’t present here. There is a prince, but when he extends his reach to Clara (the main character’s name tends to change depending on the production), a middle-class girl, the very sentiment of it all is so innocent that we don’t think about a higher-up reaching to someone lower.

The bigger concept as to why this would reach out to America is because it represented the very base that the country is known for; we “embrace newcomers.” This girl travels to the “Land of Sweets” and is welcomed warmly. The Statue of Liberty could possibly be compared to the Sugar Plum Fairy with her wand. The girl can stay in this paradise and enjoy all it has to offer, and thrive from it. Ideally, immigrants are welcomed to the country with open arms, from all over the world, so that they may rest and find a better life. Perhaps the USA in general enjoying grasping on to this ideology? That this nation is a land of sweetness, and that we accept everyone equally.

That’s a bold thought there..

It's the Nutcracker!

We are well aware of prevalent global issues in our world today: environmental, medical, political, and so on. In fact, we repeatedly hear about these issues so often that we now tune out their purpose and messages. In the world of art, however, that automatic dismissal is generally discarded. Creative expression can present a lesson or story in a refreshing – and usually striking – way.

Performance Space 122 is a cultural center in New York that has just revived a dance piece from 1986. It is titled “Them,” and was created by Chris Cochrane (composer), Ishmael Houston-Jones (choreographer), and Dennis Cooper (writer). The performance actually debuted at P.S. 122, before its 2010 revival. At that time, the AIDS panic was fully developing, but “Them” was not about that specific crisis. The piece reflected unsettling general issues through its own disturbing elements; these were not explicitly stated, but an observer could make an internal connection. “Them” continues to have a similar effect today, yet it is translated differently due to changes in history. The story and art themselves, however, have not changed.

Through artistic and poetic expression, “Them” presents the theme of male interaction with fellow men. The individualistic qualities of the dancers quietly intertwine with one another as they maintain an anonymous identity. Low lighting on the set further enhances the mysterious character of the performance. As Cooper recites words of loss, Cochrane sensually plays a guitar and Houston-Jones passionately dances. These grieving words are parallel to the externally depressed and “dying” figures of the dancers. Men, in general, strive to give the appearance of invincibility and strength; yet, in the piece, they show longing for an escape that cannot be achieved, which ultimately has affected them physically. What they wish to be freed from is not quite clear; it could be from themselves and what society pressures them to become, or from the prevalent global issues at the time (i.e., AIDS, sexual identity, etc.). Improvisation is also an important skill for these dancers, which further symbolizes the erratic change in global dilemma.

Since the piece was recently performed, I couldn’t find a video of it online. However, P.S. 122 has a YouTube channel with other visuals that you can watch for your own curiosity.

When I read this article, I immediately thought of the Fall for Dance performance that we went to see.  The article describes the Cedar Lake Contemporary Ballet, under the direction of Italian choreographer Jacopo Godani, which consists of 15 very talented dancers.  In a recent exhibition at the Joyce, the dance crew performed two very contrasting pieces.  The way in which the first dance was described reminded me of the After Light Part One performance from Fall for Dance.  The Cedar Lake Contemporary Ballet group was divided, and only six dancers performed for the first dance.  The dance was comprised of very slow, minute movements.  As stated in the article, “every move is achieved through a muscular fusillade of ripples; the performers can’t reach out a hand without undulating their spines first, during, and after the gesture.”  As Professor Smaldone had mentioned in class regarding the After Light dance, that type of movement is extremely difficult.  The control needed to maintain a particular pose is so great, and while it may look as if “anyone could do it”, this type of dance is not easy at all.  The article also spoke about how the lighting added to “the atmosphere”.  After Light Part One was not my favorite dance of the night, but I did really enjoy the lighting, and thought it added a great deal to the performance.

The second dance performed by the Cedar Lake Contemporary Ballet was a complete turn-around from the first one.  It featured all of the 15 dancers, and was choreographed by Swedish choreographer Alexander Ekman.  This piece is titled Hubbub, and the name certainly reflects the dance.  The whole performance is basically one big commotion on stage.  The stage is cluttered from beginning to end, with both dancers and objects such as papers, a typewriter, and movable tables.  A voice can be heard speaking above the music, introducing each of the dancers as “participants”.  At one point, all the dancer speak loudly at one time, creating a sort of  gibberish.  This piece kind of reminds me of the first performance from Fall for Dance.  While not quite as busy with the talking and such, it was certainly not lacking movement.  The music, costumes, and quick, synchronized dance steps created a sense of business and purpose.  Compared with the After Light dance, the first performance could be considered a bit of a “hubbub”.

I just really thought this article was interesting because it applied so directly to my experience with Fall for Dance.  With each new article or blog post I read, I find that I am able to apply the things read more and more with personal experiences, which is really cool!

Click here for the article!

Since we haven’t really blogged about ballet for a while, I thought I’d bring it back. When I was looking at the New York Times arts section, I saw an article entitled “A Cultural Leap Across a Political Divide” with a picture of dancers beneath it. It caught my interest since I could not think of how politics and dancers could be group together. The article is about a performance by a group of ballet dancers that are from City Ballet and American Ballet Theater in Havana, Cuba, as part of an international ballet festival. This article opened my eyes to the fact that the arts are not bounded by countries and wars (for the most part). Ballet is something that everyone could enjoy and appreciate, regardless of where they lived. The performance sounded like it was a fantastic show, and it is nice to see some things are not completely affect by the ugliness of wars and the complication of politics.

Click here for the article.

In 2004, expanding dept caused the Dance Theatre Of Harlem, which formed in 1969, to “temporarily” take a break. This break was looking more and more like a permanent closure and as time went on this theatre was assumed to just be over and done with. Recently, however, Virginia Johnson, a veteran of the company, has developed a plan to get the company up and running again by 2013. As an experienced member of the dance world, Johnson knows it’s not easy to keep a dance program alive, especially in times of economic hardship. Despite the financial difficulties she has stated “We can’t wait another 15 years”. The reality is there will have to be big changes. When the theatre closed it had 44 dancers as part of the program. Upon opening again the plan is to have about 18 and try to work up from there. Also the board of directors will be cut by more than half. Johnson is making every possible effort to reduce the debt that the theatre has accumulated. By decreasing the size of the program and partnering with other dance companies Johnson hopes to be able to stay on track and stick to the plan. It’s sad to see important arts programs collapse considering the importance of art in our city. On the other hand, the fact that it’s possible to turn around and stop the cycle of debt to get the program together and revitalize it, is a very hopeful situation. With all of the cuts that need to be made, it’s hard to imagine the program being the same as it was before it closed. However, with all of her experience Ms. Victoria Johnson seems to be a good person to take the reins and reinvent this dance theater.

The New York Times Article Can Be Found here

“Gezeiten”, or “Tides”, is a piece created by the German choreographer Sarah Waltz.  The piece is a reaction to the tragedies that have occurred in the 21st Century, such as the earthquakes, tsunamis, and hurricanes.  It is a work that shows how people are able to, or unable to, overcome the circumstances.  Waltz also included her own personal experience with a fire that broke out on a hill where she, her two children and her husband were.  “Gezeiten” is divided into three parts, each part reflecting a different style of Waltz’s.  The first part is abstract expressionist, the second is more theatrical, and the third is surreal and dream-like.  The TimeOut New York article sums up Waltz’s style as a combination of Tanztheater (German for Dance Theater) and American postmodernism.
Just as John Cage redefined the way people listen to music, Waltz is interested in the way dance was redefined as well.  She named Merce Cunningham and Trisha Brown as American influences for postmodern dance.  However, she feels that she does not fit in amongst modern German choreographers.  According to Waltz, their choreography lean more towards “soloistic projects and theoretical pseudo-intellectual concepts” rather than expressionism, which is what Waltz is interested in.
In the trailer of “Gezeiten”, which is going to be performed at the Brooklyn Academy of Music starting Wednesday, the three different styles can be seen.  In the clip of the first dance, the movements were more coordinated and abstract.  The clips from the following pieces were more theatrical.  The movements and actions were more human-like, and it did seem as if they were acting out the piece.  The clips of the final dances was more dream-like.  In the scene where they had the fire, the movement of the dancers were slow, almost trance-like.  I thought it was cool how the dancers were part of the set shaking the floorboard to imitate earthquakes, and then slowly emerging as people who were buried under the debris.

On Tuesday October 12th at around 6 PM, various fashion legends, celebrities and renowned dancers dressed to the nines and headed to Frederick P. Rose Hall at Lincoln Center for a benefit dinner. This special event was held by the American Ballet Theater as part of a new effort to promote the freedom of expression and to dare choregraphers to really push the limit. The ballet theater has decided to call it The Innovation Initiative. I truly began to understand the essence of the movement with a quote from Hallberg, one of the principal dancers. He said, “The Innovation Initiative was created with a sole purpose of nurturing the exploration of new movement, giving choreographers a platform for experimentation. We hope this program will set a course to discover new ideas and nurture creativity.”

On this special night, four young choreographers of the American Ballet Theater saw their original works performed for the first time.  Leading up to this climactic and exciting performance was a four week choreography workshop, where the four young creators (Gemma Bond, Nicola Curry, Daniel Mantei and Craig Salstein) worked with artists in residence Alexei Ratmansky and Stephen Pier and the artistic director Kevin McKenzie.

I feel that The Innovation Initiative really speaks to us as young adults who are just beginning to explore completely new things in college. It is empowering to be reminded that it is up to us to expand the horizons of what’s been done already and therefore, we should feel free to express ourselves, like these dancers did.

Check out the article about this here and a NY Times review of it here.

In an article by Gia Kourlas, readers are informed about Cecilia Bengolea’s and François Chaignaud’s “Sylphides”, a piece presented at the Danspace Project (New York) last weekend. Please make note that this is not an ordinary dance recital, nor is it anything like we’ve seen in our Arts in New York class so far; the bold work presents an intellectual consideration of art – perceiving the performer. Can an object be a performer, and vice versa?

“Sylphides” is an avant-garde representation of the circle of life. In the performance, a dancer approaches three inflated body bags, and removes the air to reveal the forms of human bodies inside. The poses are stiff, and appear completely lifeless; however, observers can clearly see the performers’ chests respiring. The latex-covered dancers slowly come to life as they become accustomed to moving their bodies again. When the first dancer puts the figures on a cart and fills them with air again, the bodies in the bags make larger movements, and their activity becomes more animated. The bags are later opened and reveal the beautiful women concealed inside. As the Sylphides dance with a relieving joy, “Viva Forever” by the Spice Girls is heard in the background. I personally find this highly amusing, but I can understand its significance in the performance.

Does this example open new possibilities in the world of dance? Consider inanimate objects – if a performance were to contain a lifeless object as the piece’s central theme, could it ever be referred to as a “performer?” Personally, I suppose that is it possible. Art is becoming very abstract in all fields, and is redefining previous traditions at the same time. I wouldn’t be completely surprised if the definition of a performer were to be changed as well.

Below is an example of the choreography in “Sylphides”:

Tango originated in Argentina around the 1800s, as a combination of both African and Argentinian influences.  In 1983, the right-winged military dictatorship of Argentina fell, and acceptance of homosexuality grew.  Soon after, Argentina was the first Latin American country to legalize gay marriage.  And now, same-sex tango is growing to be more popular.

I find it interesting how art reflects the changing values of our times.  As acceptance of homosexuality grows, and gender roles are starting to become more obsolete, dancing tango with the same gender develops.  Open-role tango isn’t only about having the chance to dance with a lover who is of the same sex.  It allows a women to lead, and a man to follow, thus breaking the mold of gender roles.  It also shows a different side to tango.  In another sense, open-role tango can also take the lead-follow aspect out of traditional tango.  In a quote by Patrick Loughran, “Eventually it turns into this Ouija board, where there’s no leading or following. It’s just being.”

Anton Gazenbeek, who is 26, has been dancing tango since he was 14.  He says, “With women it’s nice, soft, romantic, gentle, sweet.  With men it’s very powerful and very athletic, and very much like a game.”  In anticipation of the Queer Tango Festival, he has been instructing people in “open-role” tango.  People of all sexual orientation and tango skill level are welcomed.

Queer Tango Festival Buenos Aires

It seems to be that nearly everyone loves the popular TV show “So You Think You Can Dance”.  Personally, I have never watched it enough to become an avid follower of the show, but I hear that it is riveting and entertaining.  People audition with a dance routine for judges, and if selected to continue, they compete with the other finalists, trying to avoid elimination, until only the winners remain.  A review in the NY Times of the “So You Think You Can Dance” live tour at Radio City Music Hall left me wondering if the show is even worth watching.  The critic did not enjoy the performance, so much so that she wrote, “I wish that I will never again have to endure anything so tedious, simplistic and amateurish as this empty boob-tube spectacle.”  Besides the over-the-top lighting, “screensaver”-like backdrops, and ” loud, but unimpressive” music, the author of the review was horrified by the dancing.  She wrote that the routines would be left with nothing if one were to take away the “splits, kicks, hair-tossing, high lifts, gymnastic tricks and posturing.”  The most entertaining part about being at the performance seemed to be watching the hardcore fans of “So You Think You Can Dance” as they excitedly cheered on their favorite winners and finalists.

However, aren’t the “splits, kicks, hair-tossing, high lifts, gymnastic tricks and posturing” all part of the dance performance?  Isn’t that a huge part of what makes up dance?  Maybe the critic is used to more “traditional” dance, because I think that all of the other aspects play a huge role in creating a worthwhile performance.  This review made me think of the performances we saw at Fall For Dance.  Would the first performance have been as awe-inspiring without the flashy lights, sparkly costumes, and repetitive–sometimes corny– in-sync movements?  I think not.  I can only wonder what this NY Times critic would have had to say about that performance!

You can check out the review here!

Japan is very well known for its unique styles in culture and this is even shown in a particular dance that originated in Japan in the 1950’s called Butoh. In 1975, Amagatsu Ushio created Sankai Juku, an all male troupe dedicated to the dance of Butoh. The distinctive aspect of this dance is shown through the attire and make up of the performers. For example, these performers are covered from their shaven heads to their toes in white rice powder, which looks almost like paint. Sometimes they are costumed, partially costumed, or unclothed wearing long skirt-like garments. Their slow eccentric movements incorporate the entire body, usually focusing on their fingers and feet. After reading the NY Times article, it is certainly a new type of dance I am exposed to now.

Music and sound effects are employed, often repetitiously, and range from dynamic drumming to jazz, natural sounds such as wind, sirens, etc., to electronic music and sounds so soft as to be barely perceptible – and periods of silence.

NY Times Article

http://www.youtube.com/watch?v=Sxq-jzymytI&feature=related

It is always interesting to appreciate how many different perspectives the audience can have when observing a work of art, especially a dance performance. Today, we held a vote in class for the best performance from Fall for Dance, and all three of us guys selected “Rhythmdome,” the tap/hip-hop piece. On the other hand, 11 of the girls selected the “Keigwin + Company.” Furthermore, the piece that most people seemed to like the least was “AfterLight Part 1.” In fact, not to mention any names, but several students claimed that they “dozed off” during “AfterLight Part 1.”

Well, Gia Kourlas of The New York Times Dance Review would have added one vote for best performance to none other than “AfterLight Part 1.” Kourlas harshly criticizes all of the performances, aside for the one that our class seemed to give the worst rating. Kourlas describes “AfterLight Part 1” as “the finest contribution” of the night. “It was enchanting,” according to Kourlas; yet, according to several our classmates, it is seemed to suck the energy out of the audience much more than it enchanted us.

This begs the question: What did Kourlas see that we did not? Kourlas indeed recognizes the tiring aspect of the piece, but he prefers to describe it as “languorous.” One definition I found of languor is “the state or feeling, often pleasant, of tiredness or inertia.” Therefore, while many viewers viewed the tiredness of “AfterLight Part 1” as a negative, Kourlas felt a more pleasant tiredeness. Another aspect of the dance that Kourlas appreciated was the mesmerizing effect of the dancer’s movements. The subtle movements made Kourlas perceive that the dancer was “floating in space” at first, and later “fighting his way through fog.” At the conclusion of the dance, Kourlas says the dancer “was as distant and remote as a figure in a music box.”

I personally had “AfterLight Part 1” ranked as my third favorite piece out of the four. But after reading Kourlas’s eye-opening review, I have a totally new outlook on the aesthetic of the piece. That is truly the beauty of art.

Read how Kourlas critiques the other three dance performances

Marina Abramović once suggested an intellectual inquiry: “Who creates limits?”
Trisha Brown certainly does not.

In the Whitney Museum (New York) last week, a re-enactment of Ms. Brown’s “Man Walking Down the Side of a Building” was performed. The activity was part of a larger project titled “Off the Wall: Part 2 — Seven Works by Trisha Brown.” The choreographer’s original piece was created in 1970, and featured a dancer suspended by a harness attached to the ceiling. He/she would stand horizontally erect, and maintain complete grace as he/she slowly walked down the wall. This takes control from more traditional forms of dance, such as ballet, to the next level.

The exhibit intends to present a new approach in perceiving art. Since the piece is so extreme in nature, it is apparent that its style strays from the traditional. The fact that the work revives the rebellious notion originating in the late 60’s positively indicates that the concept is growing stronger as time passes and as art modernizes.

Ms. Brown has explored the fundamentals of dance in several other works, as well. For example, ordinary bodily movements are glorified as they are coordinated in a repeated manner in “Accumulation”. Her pieces combine elements of the ordinary (simple bodily movements, and ordinary activities such as walking) with those of the extraordinary (like gravity). The possibilities for this form of expression now seem infinite, thanks to the artistic contributions of this phenomenal woman.

The original article is here.

Below is another re-enactment of the piece.