“Stranger” Gets an A

Big Range Dance Festival 2009 — Program A

Andee Scott / photo by Simon Gentry

On Big Range Dance Festival’s opening night, I Am Stranger was a stand-out. The piece, conceived and directed by Jeanine Durning, is one of five works commissioned by solo-performer, Andee Scott for her project Woman’s Work: Reconstructions of Self. Austin was treated to the performance in its entirety last year. However, with an amendable structure, I doubt any two stagings of this segment are exactly alike.

The work explores themes of location, presence, and self. Movement vignettes are set among cameras that toss Scott’s image between video monitors like a game of catch. She endears herself to the audience, flawlessly pulling off a series of self-effacing and witty monologues. Her account of burning “the organ that covers her entire body” on a “box used to heat nutritious substances that people eat” is deliciously clever. And, Scott is laugh-out-loud funny as she makes dedicated attempts to trace her own body. Though clearly the least “dance-y” of the program’s offerings, I Am Stranger is the one viewers went home talking about.

Kristen Frankiewicz’s self-choreographed I’m So Alone is as informal and youthful as the contraction in its title. She is charming and unassuming. And, though the dance seems trapped in its linear pathway across stage, rapid-fire articulations and floor work showcase Frankiewicz’s fluid strength.

Scatterplot presents Leslie Scates and four student performers in an improvisational score. Earnest and committed, the performers (with the exception of Scates herself) simply lack the improvisational experience and the technical mastery of the more experienced dancers on the bill, making the whole work feel out-of-place. Jeremy Choate’s skill at lighting wasn’t enough to hold the scattered arrangement together.

Toni Leago Valle’s Baptism exhibits a trio of strong female performers, Lindsey McGill, Nicole McNeil, and Brittany Wallis. Valle always surprises with inventive devices. Water flings from the dancers limbs and hair after they’ve doused themselves onstage. It’s cool but treacherous. After two slippery missteps by the dancers, who recovered well despite conditions, my attention wandered from choreography to casualty.

Also on the program, were sneak previews of upcoming fall performances. Jane Weiner’s work, Village of Waltz incorporates the most lyrical segments of Eno’s Music for Airports and an assemblage of other ambient compositions. The dancers tread on books like stepping stones. It’s an elusive image. Will it be more defined in the whole of the work? Dancer, Lindsey McGill shines brightest in this segment. Her lengthy solo demands challenging sequences entirely en relevé and includes more than one lingering arabesque. She captivates with a girlish, yet melancholy, innocence.

Philip, Philip Glass, Philip Glass Glass Glass, Philip Philip Glass. The minimalist composer is a favorite of choreographers but Becky Valls crafts a kinetic equivalent in Territory. The dancers, including Valls herself, draw circular lines and boundaries which are crossed, entered, and over-stepped. As the perimeters become more linear, we see Valls take the reins as border control, literally painting her dancers into a corner. An excerpt of Valls’ Memoirs of the Sistahood: Chapter Two, this study on defining space satisfyingly completes a thought.

The Big Range Dance Festival continues through June 14, 2009.  For more information, contact Barnevelder Theatre at 713/529-1819 or visit www.bigrange.org

Reprinted from Dance Source Houston

Sweet on Aspen Santa Fe Ballet

Last Friday evening I had an early dinner with my little family, said goodnight to my toddler as he prepared for his nightly bath, and voyaged downtown to catch Aspen Santa Fe Ballet at the Wortham. The company, which closed out Houston’s Society of the Performing Arts season with three selections from their repertory, are unique in a number of ways… here are three of them:

1. They are a rare two-city organization, operating in both Aspen, Colorado and Santa Fe, New Mexico.
2. With only ten dancers, this group is small even for a small ballet company.
3. They have no resident choreographer, meaning that their entire repertory consists of acquired or commissioned work.

The trio of works on the program Friday night were excellent examples of ASFB’s eclecticism. Twyla Tharp’s “Sweet Fields,” “Red Sweet,” by choreographer-on-the-rise, Jorma Elo, and “Noir Blanc,” masterminded by Pilobolus co-founder and Momix Artistic Director, Moses Pendleton. Their two-word titles are just about all these three dances have in common.

1. 

   Photo by Rosalie O'Connor

   “Sweet Fields” – Featuring Sacred Harp music and other a cappella selections in the Shaker tradition, this work is an homage of sorts to Tharp’s Quaker origins. Light, streaming onto a dark stage, ritualistic gesture, and a tableau reminiscent of pallbearers at a funeral, set a somber tone. A moment which involves a male dancer being tossed in the air helicopter-style seems to initiate an ascent in mood, though. The dancers’ costumes, barely more than negligee have a classic look that matches the geometrically sculptured, yet lyrical, movement vocabulary that could perhaps feel truly joyous if it weren’t weighted by the work’s monotonous music. I wanted to connect to this work but I just didn’t, and I didn’t sense that the company of dancers did either.

2. “Red Sweet” – It was a pleasure to make acquaintance with Jorma Elo’s work. Turning traditional ballet partnering on its ear, he creates moments of charmingly silly situational humor. The ASFB dancers make the most of these sly and witty comedic “bits” and demonstrate their ability to harmonize as an ensemble. Though it took me a few minutes to suss out where Elo was taking me, it was clear that ASFB were enjoying this one. When I finally got into the rhythm and riffs of “Red Sweet,” I was captivated. There is a playfulness in this work that seems nearly spontaneous and I found it really intriguing that some of the most fun and witty gags were reserved for exits, a choreographic “space” that sometimes is neglected.
3. “Noir Blanc” – Let me preface this portion of my assessment by stating that I had quite a unique experience viewing the final work of the evening. Invited to watch from a top secret location within the theatre (no, I’m not making this up), I sat in a small room with a handful of other dance writers and promoters. And, as if that weren’t odd enough, we chattered away during the entire number in our little sound-proof pad, oohing and awing, as I imagine the rest of the audience did.”Noir Blanc” is a masterfully innovative little gem — not surprising, having been conceived by a choreographer known for delighting audiences. Though some write off this type of work as being little more than spectacle, it’s clear to me that not everyone can make work that thrills without being completely vacuous or pandering. This particular work has an other-worldly quality supported by projections of celestial bodies and a collage of New Age music. The dancers, wearing black and white unitards, are lit with black light. They are instruments, played for the veneration of the work which manipulates positive and negative space to reveal bodies floating horizontally in mid-air and balancing in impossibly precarious positions. Nothing is “black and white” in this choreography as the mind struggles to keep up with the illusion.

If it seems I’ve spent a lot of this review talking about choreography, you are probably right. Aspen Santa Fe Ballet, as an organization, distinguishes itself by putting the work at the forefront. They make absolutely no apologies for this, strategically collecting a wide variety of pieces by prominent contemporary choreographers that entertain and move audiences. What is delightful is that this little ballet company from the western mountains of the United States quite capably navigates such sundry terrain.

Lucky Seven: Janie Yao, Randall Flinn, and Amy Cain talk about Chinese dance, sharing culture, and East Meets West

Dance of Asia America has done tremendous work, bringing authentic and contemporary Chinese dance to Houstonians. For the last seven years, they have welcomed spring with East Meets West, a presentation arranging Chinese dance side-by-side with dance forms of Western culture. The show will be presented free of charge at Miller Outdoor Theatre on May 30.

The evening’s Eastern dances will include performances by top dancers from Mitsi Dancing School in new choreography from the heart of China. Representing the West are four local dance companies that illustrate a broad spectrum of dance in American culture. Barbara King Dance Company will offer a medley of Latin ballroom dances, and Wyld Styl will represent with hip-hop and popping. In addition, contemporary dance company Ad Deum, and the multifaceted Revolve Dance Company, each return for their second year of participation.

Having little knowledge of Chinese Dance myself, I cornered Janie Yao, founder, choreographer, and artistic director of Dance of Asia America (DAA), for a little enlightenment and a chat about this year’s program. Also joining us, Randall Flinn, artistic director of Ad Deum Dance Company, and Amy Cain of Revolve Dance Company, who give us their perspective as emissaries of the West.

Dance Source Houston: Congratulations, Janie, on your 7th year of presenting East Meets West! In the West, seven is often considered a lucky number. Does the number seven have any special significance in China?

Janie Yao: The number 7 (七, Pinyin: qī) symbolizes “togetherness.” It is a lucky number for relationships and one of the rare numerals that is great in both Chinese and many Western cultures.

DSH: Certainly appropriate for an event that joins two cultures, and their diverse dance forms, and shares these with spectators. I suspect there will be many in the audience, whose only knowledge of Chinese dance is what they see on movies and television, including “Superstars of Dance,” a reality competition that debuted on NBC last January. Do these mediums present accurate examples of Chinese dance?

JY: I happened to have caught a little bit of “Superstars of Dance.” The group that represented Chinese dance was a Buddhist martial arts group. It was not dance and certainly not Chinese dance. It was so sad realizing that television viewers are being misled.

Most Americans only relate Chinese dance to Lion Dancing, Dragon Dancing, acrobats, and martial arts. Not to say that they do not influence each other, but Chinese dance, much like ballet, is its own performing art form. New audiences to DAA will often comment on how Chinese dance is not at all what they thought it was.

DSH: So, let’s set the record straight. Give us some background we can use to better view Chinese dance.

JY: Classical Chinese Dance from the Mainland represents the Hans ethnic majority, which makes up 91% of the people in China and is the largest ethnic population in the world. It is influenced by tai chi and fung fu. Chinese Folk Dance consists of dances from the other 55 ethnic minorities in China. Dance of Asian America presents both Chinese classical and folk dances in each of our shows.

The movements are derived from the Chinese people’s everyday life, mannerisms reflecting the region and climate, customs, traditions, and history. These folk dances are not to be thought of as backyard dancing. Authentic movements are fused with full-blown dance technique that is specific to each region: Mongolian dance, Xing Jiang dance, Dai’s dance, etc.

DSH: The choreography performed by your company ranges from classical to contemporary Chinese dance. Will those with little exposure to either be able to tell the difference?

JY: New audiences may find it difficult to distinguish between authentic and contemporary. Chinese Folk Dance often contemporizes with more modern costuming, props, and music. Classical Chinese Dance does the same but also fuses modern dance and/or ballet from the Western world into the Chinese classical technique.

Dancers and enthusiasts of Western dance forms will be able to see the differences, though. Chinese dance is a dance technique much like classical ballet, Graham’s modern dance technique, or Luigi’s jazz technique. In fact, there are specific arm positions that are very near to the five ballet positions, though the fingers are more stretched and the hands are typically turned outward rather than inward. As a method of study, Chinese dance is very compatible with Western dance techniques.

DSH: Amy and Randall, many viewers attending the show may focus on the differences between Chinese dance and American dance forms. What are the parallels, and what do cultures learn from one another through sharing and experiencing dance?

Amy Cain: Dance is art in any form. It is an expression of the human body interpreting music, sound, or subject matter through movements and gestures.

Randall Flinn: We learn so much about ourselves as people through dance – our worldviews, the things that we share in common, the things we hold the most precious, the things that are the most fearful, our desire and great need for hope.

DSH: What draws you two and your companies back to this mixed program?

AC: Janie Yao and her dancers…they are a pleasure to work with!
RF: We appreciate the opportunity to work with a diverse, multicultural, and eclectic dance community in a performance presentation. It heightens our artistry, awareness and understanding to extend beyond our own borders and learn from the beauty and expressions of others.

DSH: Amy, last year Revolve wowed with a tap piece. I hear Matt Dipple is working on another one for this year.

AC: Yes, Matt’s piece “Swing Set” mixes Broadway and hoofin’ tap styles in an interesting and whimsical interpretation of artist Jurassic 5′s music.

DSH: Ad Deum is performing “Prophets,” a work choreographed by Steve Rooks, who was a principal dancer for ten years with Martha Graham Dance Company. Can you tell us a bit more about the work, Randall?

RF: Yes, it was a true honor to have Steve set his work on Ad Deum. Before Martha passed away, Steve was collaborating with her on this wonderful score by John Adams. The work is explosive. A fire burns within three women, prophetesses, whose yearnings to obey the word of God stirs the very fibers of their beings.

DSH: Janie, I like that you’re bringing all of these diverse dance forms together but, if you wanted, you could just stick to presenting Chinese dance. So, why is it important to you to offer a mixed program?

JY: Well, in the fall, we do get down and serious with Chinese dance as DAA collaborates with one of China’s best, Shanghai Dance Company. But, as a mixed program, East Meets West is a great way to introduce new audiences to Chinese dance.

Dance of Asia America also loves working with amazing local talents. After all, the greatest part of dance is sharing it – not just with our audiences, but with other dancers and choreographers. This presentation brings out the mix of talents in Houston. Each company is unique and the variety and quality of their work is what makes East Meets West one of a kind.

Dance of Asia America presents East Meets West at 8:00 pm, Saturday May 30, at Miller Outdoor Theatre. Tickets are free. For more info visit www.danceaa.org.
Reprinted from Dance Source Houston

Houston Metropolitan Dance Company “Mixing it Up”

Houston Metropolitan Dance Company’s Mixing it Up revisited the past and premiered three new works, all the while looking toward the future as their dream for a new dance center becomes a reality. With the announcement of a signed letter of intent from the developer and a sneak peak of  building designs, the audience was energized from the start by the potential a new space holds for the company, its school and outreach programs, and the Houston dance community.

Making quite an entrance, the full company lurched, jolted, and jerked single file down the far aisle of the theater to the electronic sounds of the musical duo Matmos. The work, “A Polite Social Gesture,” by choreographer Peter Chu which was premiered in 2004 by the company, displayed the group’s expertise in precise and fierce unison movement. Unfortunately, it was a point that would be driven home often throughout the program. In the majority were large group works that featured all or most of the company dancing lengthy passages simultaneously. It was a relief, therefore, when, on occasion, solo and duet work made an appearance, particularly in light of the considerable performance skills of members like Marlana Walsh-Doyle, Kiki Lucas, and Jocelyn Thomas.

Formerly presented works on the docket also included “The Yawning“ by Brock Clawson, a work not unlike David Parson’s Sleep Study in thematic material yet not as cleverly crowd-pleasing; “Whatever Lola Wants,” a short one-liner of a dance by Joe Celej that offered some needed comic relief (I’m pretty sure the program should have included a disclaimer that some fruits indeed were harmed during the making of this production); and Pattie Obey’s “Zoom,” a jazzy jaunt featuring eight female cast members. The dancers’ fast-paced zips across stage never really zoomed but, these ladies were enjoying themselves, taking the audience along for the ride.

Of the three newest works, “Chambre Noire” by international choreographer and New York City Ballet Arts faculty member, Nina Buisson, stood out as the most fully realized and structured offering. Lauren Garson, showed impressive fluidity and control as she maneuvered around, over and across a low table while her counterpart, Marlana Walsh-Doyle, exuded a strong, though remote presence. An expansion of a duet created for Nina Buisson Contemporary Move, this piece would ultimately have benefited from a more cultivated integration of additional cast members. The work’s second act incorporated six more of the company to little affect as they performed duet material in unison. It was not until the final moments of this composition that two delightful feats – the daring transport of Jocelyn Thomas, held aloft atop the table, and the scaling of a mountain of people – revealed a purpose and payoff for additional performers.

Houston Met’s Resident Choreographer, Kiki Lucas, and Met Too’s Pre-Professional Company Director, jhon r. stronks also presented new works. Lucas’s “Imbalanced, Detrimental, Overbearing Thoughts,” was strong in its execution and offered some pleasing contemporary partnering but it suffered from a stream of consciousness style that seemed to drift around an intention that even Lucas’s accompanying text did not illuminate. The unflattering, shapeless shirts worn in this piece hid the dancers’ lines, one of this troupes strongest attributes.

A work in four acts, Stronks’ contribution felt like three separate statements. The first segment featured a fresh and promising use of contemporary music and joyous group choreography, blending the rhythmical undulations of jazz with a contemporary aesthetic. There was shared connective tissue between this and the work’s bookend, however, the middle portions were incongruous. A fashion show of dancers in Studio 54-esque costumes felt like an inside joke to which only those associated with the company or school were privy. And, a short segment set to a jazz spiritual seemed heavy-handed with it’s emotive camaraderie and hand-holding. Though met with a response that brought many audience members to their feet, I couldn’t help but feel puzzled by the finale to this long evening.

In fact, as someone seeing Houston Met for the first time, the entire production left me feeling a bit confused. A strong ensemble with talented professionals, the company offers strong and committed performances. With virtuosic flexibility and power backing up each movement, this band of dancers could execute a wide range of choreographic material. Yet, the offerings on this night seemed one-dimensional despite the mixture of jazz and contemporary styling. I had the feeling that with this material Houston Met is preaching to its choir of supportive and enthusiastic patrons. As the Houston Metropolitan Dance Center continues to dream big, its dance company has great potential for expanding its dance audience, however to do so may require a diversification and push to explore new, more layered choreographic territory.

Reprinted from Dance Source Houston