Its name is LIMITED STATES. Rumors concerning a video component designed by the choreographer are now confirmed, and parents in the viewing audience may want to know the new work involves nudity.
But the big reveal—thus far—is that patrons who attended his company's two performances of a work called STILL MOVING in June at New York's Metropolitan Museum of Art may have gotten more than just a glimpse into the work that's headed our way. More on that in a moment.
For the most part, the information available at this point leaves us with an intriguing array of question marks. We've learned that a New York-based media design firm, FAKE LOVE, is credited with "video projection: effects and production." After digging a bit into Fake Love's track record, we found a group whose “experiential designs” have involved projecting arresting visuals onto a cloud of 500 balloons for a Microsoft rollout, CG-enhanced media support and commercials for fashion designers and high-line cosmetics, the History Channel and Google, as well as atmospheric animated and video backdrops for Girl Talk and Phantogram’s concert tours. Particularly given Fake Love's trippy clips reel, in this case the term "effects and production" leaves plenty of room open to interpretation.
LIMITED STATES is divided into three movements over 65 minutes. The first, “Dimensions,” is set to an intriguing soundscape including Rossini, NOAA weather reports, ethereal, ambient audio by Asher Thal-Nir and decidedly minimal percussion by Jarrod Fowler.
The second movement, “0-11,” honors the 11 years founding company member Sara Procopio has danced with Shen Wei since her first work with him (as an ADF student) in 2000’s NEAR THE TERRACE. Her solo is set to the controlled feedback of noise composer Daniel Burke’s group, Illusion of Safety.
Burke is also credited for the music in the final section, “Internal External #2,” which we've learned is based on a similarly-named piece that concluded Shen Wei Dance Arts’ evening-length performance, STILL MOVING, in the courtyard of the American Wing at the Metropolitan Museum of Art in June of this year.
The rest, we learn at DPAC next Thursday night.
When a film studio foregoes all previews of an upcoming release, that usually conveys a certain lack of faith in the finished product. This week, we'll find out what a similar circumstance means in choreographer EMANUEL GAT's case when his company performs during the American Dance Festival at the Durham Performing Arts Center.
The festival scheduled no photo shoot for Gat. There was no need for one, since the company wanted no press photography of any kind taken of his latest work, BRILLIANT CORNERS, which premiered two weeks ago in Vienna.
The company has made its own trailer for the work. For three minutes we watch a cascade of partial body shots while dancers are apparently warming up: socializing, stretching, sitting, doing neck rolls, walking, rehearsing moves, gazing up at the lights.
All of that is followed by 50 seconds of the full ensemble in what appears to be actual dancework. More accurately, it's 15 possibly connected clips of the group, ranging from less than one to 7 seconds, shot from various angles, while a single, ambient passage suggesting chamber music for long strings plays in the background. See for yourself:
It's a decent commercial. It establishes a certain ambience, even generating a sort of suspense, before providing a series of brisk—but fragmentary—glimpses of the ostensible performance itself. And all those camera angles are just there to let us know that more action's going on than any one vantage point could hope to capture.
The quick edits flit from place to place: look here—no, here! To see all the camera sees, we'd have to move as fast as Gat's dancers, or faster. Our point of view is as kinetic as the dance—if not more so...
Yes, the trailer is quite impressive. And with only it to go on, we'll just have to wait and see how it syncs up with the actual experience of the dancework when Emanuel Gat Dance presents BRILLIANT CORNERS, Thursday through Saturday nights, in DPAC.
Exclusive video footage from the world premiere of SERAPH, a collaboration between the dance company PILOBOLUS and the MIT Computer Science & Artificial Intelligence Lab, at the 2011 American Dance Festival. Pilobolus performs at the Durham Performing Arts Center through July 2.
Video footage from the world premiere of Rosie Herrera's DINING ALONE at the 2011 American Dance Festival. Herrera's company performs DINING ALONE and PITY PARTY through June 29 at Reynolds Theater.
New video preview of the dance company Evidence performing a section of Ronald K. Brown's new suite to Stevie Wonder, ON EARTH TOGETHER, at the 2011 American Dance Festival. The company appears with Dayton Contemporary Dance Company through June 25 at Durham Performing Arts Center.
Exclusive video preview of the Dayton Contemporary Dance Company performing a section of Donald McKayle's RAINBOW 'ROUND MY SHOULDER at the 2011 American Dance Festival. The company appears with Evidence through June 25 at Durham Performing Arts Center.
Exclusive video footage of TAO DANCE THEATER at the 2011 American Dance Festival. The company performs June 20-22 at Reynolds Theater at Duke University.
Produced and narrated by Byron Woods.
A busy year for Bill T. Jones? You decide.
His incandescent musical on the life of Nigerian Afropop composer Fela Anikulapo-Kuti, FELA!, closed this January after 13 months on Broadway and a no-brainer Tony Award for choreography. By then, the musical’s world tour had already opened at London’s National Theater, before dates in Fela’s native Nigeria this spring. The tour continues: FELA! opens tonight (June 15) in Amsterdam, before just-announced dates in Washington, DC in September.
Jones was named a Kennedy Center Honoree last December. And he’s been at the center of perhaps the biggest story in the New York dance world this year, overseeing the merger of his 29-year-old company with DANCE THEATER WORKSHOP, that longtime downtown cradle and crucible for contemporary dance. The name of the new organization: NEW YORK LIVE ARTS.
In recent weeks, his company has been reconstructing the three repertory works we’ll see during residencies up the road in Charlottesville and at Bard College in upstate New York.
And in between them was that little tete-a-tete between Jones and SITI director Anne Bogart at UNC on April 7, where they announced an upcoming collaboration on Stravinsky’s RITE OF SPRING, scheduled for Carolina Performing Arts’ 2012-2013 season.
More after the jump.
You understand, this just doesn’t happen. After a certain point in their careers, two dance headliners just don’t share the same stage on the same night.
But the occasion isn’t just the opening evening of the 2011 AMERICAN DANCE FESTIVAL. It’s something of an early retirement bash honoring director Charles Reinhart, whose long and storied career draws to a close this season. The night’s also a benefit for a new scholarship and commissioning fund established in his name and the name of late co-director Stephanie Reinhart.
That’s why we’ll see performance artist JOHN KELLY give modern dance a distinctly commedia dell’arte turn in a staging of MARTHA CLARKE’s PAGLIACCIO, and SCOTTISH DANCE THEATER get down and dirty to A Perfect Circle and Nine Inch Nails in the combative/collaborative duet, DRIFT.
HUBBARD STREET DANCE CHICAGO’s large ensemble will confront us with the emphatic iterative bodies seen in a half-hour, five-sequence excerpt from OHAD NAHARIN’s THREE TO MAX, set to music by Brian Eno, Lucky Ali, Rayon and Seefeel. Our own AFRICAN AMERICAN DANCE ENSEMBLE will honor Reinhart’s legacy with a high-octane dance and drumming section from their work, HONORING THE LEGACY. And dancer, actor—and uncanny impressionist—MARK DENDY will convince no less a legacy than MARTHA GRAHAM to say a few words appropriate to the occasion.
And after all that, we’ll drink a toast to the guest of honor at a post-show reception in DPAC’s Star Terrace Lobby and Skyline Lounge.
The $125 ticket is pricey, but it includes the show, an exclusive meet-the-dancers dance party afterward with live music, free drinks and heavy hors d’oeuvres—plus a documented $60 tax deduction back your way.
More after the jump.
So, for that matter, might the festival’s choice for the 2011 Samuel H. Scripps Award: choreographer Anne Teresa De Keersmaeker. Despite an internationally celebrated career that has spanned 30 years and inspired festivals itself, the 2011 season marks the choreographer’s first performance—ever—at ADF. A check for $50,000 accompanying the award for a lifetime’s achievement sweetens the deal when her 27-year-old company, Rosas, debuts—at least, at ADF—with that group’s first work from 1983, Rosas dannst Rosas, June 10-12.
After her Pity Party and Various Stages of Drowning moved audiences last summer, we want to see the world premieres of Rosie Herrera’s Dining Alone (6/27-29), and a new work Martha Clarke will create on ADF dance students (7/18-20). Shen Wei is slated to present a world premiere that will display, according to press advances, “a new…side of [his] artistic skill” (7/14-16). The apparently immortal Paul Taylor debuts a new work, The Uncommitted (7/21-23), after Pilobolus presents the world premieres of three team-ups: with Butoh artist Takuya Muramatsu from Dairakudakan, the "engineers, programmers and pilots" at the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL)—and the Grammy-winning band OK Go (6/30-7/2).
Among notable reconstructions: Bill T. Jones remounts D-Man in the Waters, his 1989 work in honor of deceased company member Damien Acquavella, to live accompaniment by the Durham Symphony (6/16-18), before Dayton Contemporary Dance Company restages Donald McKayle’s 1959 masterpiece, Rainbow ‘Round My Shoulder. (The company shows that work on a shared bill in which Ronald K. Brown and EVIDENCE presents their newest work, On Earth Together, to a Stevie Wonder soundtrack, June 23-25). Eiko & Koma continues their multi-year 40th anniversary celebration with a recreation of 1995’s River in Duke Gardens (7/5-6), and two associates of Twyla Tharp reconstruct Sweet Fields on ADF students (7/18-20), three years after Aspen Santa Fe Ballet’s performance of it here in 2008.
Standouts among the other dates this summer include a performance of the complete Chapters from a Broken Novel, Doug Varone’s new work that audiences in Raleigh and Asheville saw tantalizing excerpts from in February (July 11-13). And after the austere dynamics of his 2009 mainstage duets, Emanuel Gat returns with his full company for the U.S. premiere of Brilliant Colors, July 7—9.
The season begins with a one-night benefit gala featuring African American Dance Ensemble, Hubbard Street Dance Chicago performing Ohad Naharin, performance artist John Kelly performing Martha Clarke’s Pagliaccio—and Mark Dendy reprising his memorable solo performance as Martha Graham, June 9.
The full schedule appears after the break.