Peridance Capezio Center in NYC has some exciting news for young dancers looking for a change of pace in the world of Summer Dance Intensives.
BLUEPRINT, a brand-new, two-week contemporary ballet intensive program in New York City, is set to take place August 20-September 1 2012. Auditions for this exciting opportunity have already begun and will continue internationally throughout the winter and spring. In collaboration with dance icon and founder of DancePulp Drew Jacoby, Peridance has brought together an irresistible faculty for professional dance hopefuls ages 16-22.
Chunky Move’s “Connected,” which opened this evening at the Joyce Theater, is technically about five security guards and a stolen work of art.
But wait, it takes a second to get there.
What we see when we enter the Joyce house is an industrial and yet finely structured sculpture by kinetic sculpture artist Reuben Margolin. Margolin’s creation fills the stage. Its foundation is a wheel, mounted to a metal base, connected to hundreds of fine translucent strings that are threaded through a grid near to the ceiling and finally cascade making a perfect square of lines in the upstage right corner. It is immediately intriguing, even without Chunky’s movers.
Joe’s Pub is my new venue crush. Instead of local bands as the accompaniment to dinner and drinks, why not see ten shorter selections from New York choreographers? I am all for it. This informal, small stage allows the choreographers a unique and momentary chance to carve their work to suit the space. Not just any piece is right for dining viewers, and the corner stage only allows for a few bodies. Tonight, the first night of four in the DanceNOW [NYC] Festival, offered a variety of diverse voices, but serendipitously some repeating trends arose. The format is satisfying because in a field where often pieces drone on, these short 5 minute appearances are glimpses that leave you wanting more. Out of ten selections, several stood out above the crowd.
Houston Ballet took their debut spin around the Joyce stage last night with Falling Angels, ONE/end/ONE and Hush. Jiří Kylián’s Falling Angels, one of the choreographer’s fan favorites, is often selected by ballet companies to showcase contemporary capabilities. I have seen the piece before, performed by the National Ballet of Georgia, but this time Houston Ballet helps me notice a few new inner-workings. First, a heavy load of unison makes it difficult to choose whether to view the movement as a corps of moving bodies or to single out one individual to more closely study the quick, precise gestures. In this opening section, the movement is clean and minimalist, focused on arm angles correlated with Steve Reich’s drumbeats. For me…
From September 20-25th The Joyce Theater opens its fall season with Israel Galván’s vibrant “Le Edad de Oro” or The Golden Age, a full length solo flamenco performance accompanied by live musicians. In a Joyce lineup that often features full dance companies, Mr. Galván’s work is uniquely captivating, as is his philosophy on dance.
Last night, students of the Cedar Lake Contemporary Ballet summer 2011 Intensive Program, performed in an interactive installation piece entitled 360º at Cedar Lake’s homebase in NYC. Drew Jacoby and I joined the audience, circling the action rather than in rows of neat seats. In the current performance trend of audience…
Editors Note: This is a collaborative post between Drew Jacoby and Emeri Fetzer and we hope to engage our readers in discussion. An important aspect of the mission of DancePulp is to encourage our followers to think about the importance of dance and to actively support arts advocacy. Early this…
Tuesday night, Kate Weare Company took the Joyce stage in the continuation of Gotham Dance Festival. Weare showed two works: “Lean-to” a popular piece from 2009, and a world premiere of the mystical and lush “Garden,” Weare’s newest creation. After this, my first encounter with the company, I am smitten.
“Lean-to” is as on edge as it gets. The curtain rises to reveal a starkly white, sail-like structure by Kurt Perschke as a power trio (dancers Adrian Clark, Douglas Gillespie and the unforgettable Leslie Kraus) surely and slowly initiate an interaction which cannot be distinguished as battle or alliance.
This week, I’ve been spending my evenings at the Joyce Theater for the jam packed Gotham Dance Festival, compiled by Ken Maldonado of Gotham Arts Exchange. This summer, Gotham Dance Festival offers up ten choreographers, showing world premieres as well as past repertoire. After a few days of reflection and gathering various reviews of performances, my own reactions to Brian Brooks Moving Company and Monica Bill Barnes and Company are still resonating. I’m left chewing on two remaining themes: repetition and character environment.
Dutch National Ballet Artistic Director Ted Brandsen talks about the company’s unique style and repertoire, the importance of giving dancers individual attention and creating a positive company environment.