Category: Contemporary Dance

Posted on

Batsheva Dance Company

Thought-provoking performance “Offending the Audience” by the Young Ensemble of the Batsheva Dance Company at the Joyce Theater.

I didn’t actually find the language to be particularly offensive except for the final minutes. Even then, it wasn’t too bad.

On the other hand, it was an odd experience to be called out for doing *exact* what we were doing. For example, that we, as the audience, were sitting in rows equal distance from each other.

I want to better understand the meaning of the scene about a girl dancing naked to provoke a beating from her mom though… among other unusual and puzzling moments in the choreography.

Posted on

Lar Lubovitch Dance Company

Lar Lubovitch Dance Company. Performance and post-show talk on April 18th at the Joyce Theater.

Lar was originally a painter who got his inspiration from music. Painting was his way of visualizing music. Not surprisingly, as a choreographer, he paints music with his dancers.

For anyone who knows me, I personally believe movement should come before music. Dance as a field should be able to stand on its own without music. We are not a derivative of another art form.

Having said that, I thoroughly enjoyed Lar’s work. His unique choreographic touch was evident in tonight’s program of “The Legend of Ten”, “Something about Night”, and “Men’s Stories”. His dancers moved across the stage like brush strokes building up elaborate and dynamic scenes.

Posted on

Jessica Lang and Backhausdance

I LOOOVED Jessica Lang and Backhausdance at the Joyce Theater‘s American Dance Platform. My favorite program of this year’s festival.

“Lyric Pieces” by Jessica Lang was graceful and beautiful. Jessica has incredible way of bringing dancers together, so that as a whole they tell a touching and emotional story. The minimalist but versatile props accentuated the constantly evolving, dynamic movements. “The Calling,” a short solo, was visually stunning from the moment the curtain was lifted. Kana Kimura stood at the center of stage, in an all-white dress that spanned 20 feet across covering much of the stage. As she moved, the fabric of the dress flowed, twirled, and responded to her.

If seeing Jessica Lang’s work feels like attending an elegant wedding, then seeing Jennifer Backhaus‘s work feels like the small victories of making it through a difficult but rewarding week.

“The Elasticity of the Almost” was creative, playful, and deeply emotional.

I was warned ahead of the show that “balls will be rolling into the audience!” Surely and truly, thousands of bouncing balls filled the stage. They were carried on stage by the dancers, rolled in one by one from the sides, poured in by the buckets, before raining down from the sky.

While the balls were the most visible part of the piece (they’re in bright red and other solid colors), my favorite was how the dancers interacted with the balls. The dancers’ movements were organic, dynamic, and gorgeous if not challenging. (Imagine turning and jumping in an ocean of rolling balls!) Yet, they also revealed deep emotions: the stress and rewards of being an artist, making it through the week, hanging onto what we care, letting go of what must go, discovering, and understanding what is truly valuable to us. Such a beautiful, meaningful, and impactful work of art. 😍

Look forward to seeing much more from these two amazing choreographers and companies!

Posted on

Liz Gerring Dance Company

Lovely performance by the Liz Gerring Dance Company at the Joyce Theater this Friday.

Dance speaks to everyone in different ways. Lately, I’ve been wondering, asking, and paying extra attention to how people think of “movement versus music.”

Tonight’s post-show discussion was particuarly interesting, because Liz Gerring answered an audience question just as how I would have. It was astonishing, almost bewildering, listening to Liz articulate her experience, when her answer *exactly* matches how I personally experience dance.

“Which comes first? Choreography or music?”

Liz answers that she thinks of music as support. She enjoys how music sounds, and enjoys her 30-year working relationship with Michael Schumacher, the resident composer of her company. However, music should be an element to the visual picture without interfering. She enjoys creating her work without having to follow a certain beat.

Her philosophy definitely came through in tonight’s presentation of “Horizon” — in the distinct movement language that Liz has constructed, and in the physicality and boldness of the dancers’ movements.

Posted on

Garth Fagan Dance

“Find the good and praise it.”

What a treat tonight with Garth Fagan Dance at the Joyce Theater filled with positive energy, strength, and beauty.

I was impressed by Garth Fagan’s philosophy. From the curtain chat:

“In acting, music, painting, we revere the older artists. Why the reverse in dance?” The oldest member of his company, Steve Humphrey, is still performing at 65.

Equality. Men and women dance the same way in his company. Women jump as men do, and don’t wait for the prince to come.

Opening tonight’s performance, “Prelude” started out with dancers stretching, as if warming for a dance class. The movements gradually built up to form explosive leaps and kicks. The dynamic sequences were interlaced with stillness. Everything was performed with a smooth and relaxed style. Altogether, “Prelude” which Garth Fagan created to help introduce his new dancers, is a fascinating juxtapose of power and beauty.

“Estrogen/Genius” is a lovely work with five women dancing, playing, and enjoying each other’s company. In keeping with the themes of equality and positivity, the dance is accompanied by the voice of seven men singing about healing and saying positive things about their female counterpart.

“Wecoo Duende”, choreographed by Norwood Pennewell, is yet another dance filled with positivity about an alluring spiritual guide taking a people through a spirit quest.

“Life: Dark/Light”, capping the show, combined all the amazing elements of the night into one work. It’s fun, dynamic, and powerful. The dancers began the piece with a seemingly unremarkable walk, back and forth across the stage. Yet, surprises started to pop up. The energy and emotions continuously built up until the stage was filled with stunning movements.

Finally, the costumes for “Life: Dark/Light” — colorful patterns under a thin layer of white — perfectly reflected tonight’s dance: Subtle, humble, and yet unmistakably beautiful.

Bravos to all the dancers: Norwood Pennewell, Steve Humphrey, Natalie Rogers, Vitolio Jeune, Guy Thorne, Wynton Rice, Adriene B. Hodge, Andrew David O’Brian, Davente Gilreath, Sarah Herbert, Nina Price, Le’Tiger DeAnte’ Walker, Rishell Maxwell.

Posted on

Tero Saarinen Company

​Tero Saarinen Company at the Joyce Theater.

One of the more polarizing and abstract performances I’ve seen. As I sat in the 7th row of the theater, I counted at least 5 audience members in front of me who (in the middle of the show) stood up and walked out.

At least to me, the abstractness wasn’t the issue. I didn’t particularly enjoy the execution, but I was mostly bothered by the content.

Tero Saarinen explained at the curtain chat that “Morphed” as performed by 7 male dancers is about masculinity. More specifically, in his own words, there are “too many numb angry men in the world.” He wants to show that men can have sensuality and sensitivity, that these “weakness” can actually make men stronger, even though it’s often hard for men to be fragile. A sizable group stayed for the post-performance talkback, and were enthusiastic about the discussion.

However, here’s my main objection to the show. I’m so sick and tired of even hearing about these “male roles” perpetuated by a patriarchal society.

Alexandra Petri wrote in her opinion piece in the Washington Post yesterday, in response to the Harvey Weinstein sexual assaults: “I am sick of having to suffer so a man can grow. … I am not the one who should be ashamed that you [Harvey Weinstein and the likes] have done these things. I am not here to make you see the error of your ways. I am here to get through my life every day without inhaling thick lungfuls of smoke.”

Coincidentally, tonight’s performance was momentarily interrupted and delayed because of a medical emergency when a man had a seizure. During the curtain chat, an audience member near the man recalled the incident and described him as “the stereotypical New Yorker on a date, aggressive, and possibly intoxicated.” The wording including “stereotypical” was hers, not mine. The adjectives associated with the stereotypical men on a date in New York were interesting to note, if not upsetting.

Despite being unconscious when the house lights first came on, and then slumping into his seats twice, the man was still disobeying the Joyce Theatre (female) staff’s directions — while she was on the call with 911, relaying messages from operator, trying to save his life). When the NYFD arrived a few minutes later, he had regained some strength, and decided to push his way past the first respondents, leaving the medical personnels stunned — standing alone in the middle of the theater with their stretcher and first aid kits on their hands. Well done, sir! What a great display of your masculinity! What a waste of 15 minutes of 400+ people’s time, critical medical resources, and care from the Joyce Theater staff.

I’m sorry that I stayed for the whole show. Should not have wasted 90 minutes for these “men” to grow up and be a useful member of the society.