Joelle Martinec presented a stellar evening of dance at the Madrid Theater in Canoga Park, entitled MoveMeant. Martinec's company, SoleVita, consists of excellently trained dancers who perform with both conviction and accuracy. The style of the evening can loosely be described as Contemporary Jazz, but distinct flavors existed in each piece creating diversity and entertainment for the duration of the show. If you love high energy, accessible dance performed by a cast of beautiful bodies, SoleVita's MoveMeant is for you. The program was a little tricky to follow in terms of how the dances were grouped and titled into themed sections (for MoveMeant) and stand alone pieces. This left me a little confused on how to connect the pieces under the larger MoveMeant umbrella title, But, I will do my best to describe a few highlights from this premier event:
Develop featured a potent strobe light representing a camera flash in this study of human shape, line and stopped motion. The strobe effect is something David Parsons perfected in his solo work Caught from the 1980's. Martinec's take on the strobe played with combinations of bodies in space, sometimes unified, sometimes divergent. The second portion of Develop, entitled Fixer to Frame, investigated the idea of an ever emerging composition of dancers in space. The bodies wrapped and slid among and through each other before pulsing through the space in rhythmic flow. The red lighting referenced a dark room as the picture emerged through the course of the dance.
Martinec took some time to comment on the various forms of romantic love in her piece All Included. The three part piece started with a classic tale of boy meets girl. It begins with a series of comic mishaps, head bonks, accidental slaps in the face, and untimely attempts to connect, before they manage to settle in, find each others rhythm, and fall in love. The second part, Near Light, performed by Andrew Boyd Bechtold and Jeremy Thompson was a moving duet telling the intimate story of gay love. This duet was well danced and emotionally honest in a way that separated itas unique from the rest of the largely playful program. The romance was so convincing that it was hard for me to later see these men as heterosexuals in later pieces in which they assumed the more traditional role of heterosexual male. Part three was a fanciful and well costumed piece performed by six females dressed in half of a men's suit and half of a white gown (very Victor/Victoria). This playful commentary on gender and sexuality was particularly exciting from a visual standpoint as the dancers switched sides (and roles) throughout the puzzle of a dance.
The Walk West was another multi-section portion of MoveMeant, but this time set with a very theatrical feel of 1800's American pioneers. The first part refreshed the audience with the absence of a soundtrack or music. The slow traveling of the cast members across the stage was a well crafted visual for the context of the piece. The second part, called Homestead, was the section that worked least for me in that the more conservative and gestural style of the first section gave way to some incongruent jazz styling that didn't fit for me in this early American pioneer context. However, part three, Revealed, brought me back into the historical time and place with circle barn dances that were just plain fun. Part four, BrotherHood, was the real crown pleaser. Performed by four men, this piece was powerful, aggressive, and visually exciting. I began with a conflict between two men, and I didn't catch the resolve of conflict between two of the characters, but the piece as a whole, including horse galloping, rope throwing, and all manner of jumps and turns was a joy to watch and the audience showed its approval in rousing applause.
The show closed with Finalize This which took MoveMeant back to the home of jazz dance with its mix of cabaret, burlesque, comedy and commercial dance. In the piece entitled Is it?, I appreciated that these beautiful women were willing to make fun of themselves and the sexuality of the classic chair dance/ strip tease. In part two, Courtney Ozovek, played it straight and sexy in her high heeled solo pirtS. The show closed with what these dancers do best, fast paced, perfectly timed, hot commercial jazz. Men showing force in suits and ties and ladies sparkling in silver dresses, Whew! is appropriately titled. These dancers have the stamina that is required for a life of a professional dancer. High kicking, turning, and leaping right through to the end of the show, Finalize This was a an opportunity for these excellent dancer to show off their incredible skills and deep down love for dancing.
The show featured other works (outside of the MoveMeant theme), including an exquisitely performed solo by the captivating and spellbinding Amber Dupuy, a solemn ensemble piece choreographed by company member Chelsea Mischner, and a texture rich work featuring Kara Hess. Overall, this show is worth your time and the ticket price. Worth more actually. When talking about the entertainment factor in dance: Martinec delivers. This is a show that will make dancers want to get up and dance and dance fans leaving fully satisfied.
You have one more chance to catch the show Saturday at 8pm at the Madrid Theater. There is no reason this show shouldn't sell out, so get your tickets now before it is too late. You will be thoroughly entertained.
Did you see the show? Share your comments below!
Beth
For a past review of SoleVite that I year (featuring Modern Communication and 2). Click here.
Showing posts with label jazz dance. Show all posts
Showing posts with label jazz dance. Show all posts
Friday, September 13, 2013
Saturday, March 30, 2013
Adam Parson's Commonality Dance Company
Living in Simi Valley, is a tricky one because I'm close to the LA dance scene, and yet, it really takes a effort to get out and participate. But, tonight I am so glad I did.
Last minute I decided to jump in the car and head to North Hollywood to see Commonality Dance Company at Liv' Art Dance Studio. Adam Parson started the company in 1998 and has toured internationally as well as being an LA favorite. His style: Jazz.
Parson's choreography is an excellent example of Jazz dance that is diverse, entertaining, athletic and musical. His choreographic style hinges exclusively on the powerful relationship he creates with the music, and his ability to manifest a distinct and complex pallet of dynamics and effort qualities. What does that mean in every day language? His dances go beyond the flat aesthetic of cliché jazz dance. There is a richness to the movement, that is detailed, refined and precise.
One of my concerns with contemporary jazz practices is the tendency toward the overly dramatic and painfully hyper-emotional. Parson's work was honest and human without the affectations of "show." The dancers were relatable (despite their jaw dropping endurance, athleticism and pristine virtuosity). I love seeing dancers as people, and this show was full of people dancing. It was sexy, fun, well crafted dance that renewed my conviction to advocate for the genre in academia.
People wonder if Jazz has a place in Higher Education.
Well. . .
THIS jazz certainly does. The works I saw tonight were not only physically challenging, but ripe with compositional integrity, movement invention, design and musicianship. This is not just dancing to a good pop song. This is true craft.
But, the craft is so well done it is virtually invisible. In other words, the audience at large may not leave thinking to themselves "Wow! That musical counterpoint was tremendous!" or " Did you notice the use of the dancer's kinesphere? Such versatility in somatic connectivity!"
They leave with a smile on their faces, because they could see and feel that this was "good" dance. It included themes that they could identify with and movements that spoke to their souls. But, just because something is enjoyable doesn't mean we should leave it at that. We can't make the mistake of only analyzing the dances that are hard to get and or semi-sufferable!
Let's honor this dance form by seeing at it is: so much more than just beautiful bodies doing impressive steps. Parson is a composer of dance. He is a painter of the space and a visual musician.
Here are a few notes I made on some of the pieces that really stuck with me:
Good Intent was an all female piece choreographed by Adam Parson. The six women performed exquisitely. The movement pallet included small gestures and isolations that highlighted the hot/cool juxtaposition of jazz dance. The women were commanding and exact in their shoulder shrugs, hip rolls and hand gestures. I think I was particularly taken with this piece because of the musicality of the choreography and the way in which the movements embodied such a diverse range of movement qualities from sudden to sustained, direct and indirect, light and firm. The combinations were playful and enriching to the piece that was ultimately a playful and flirty seduction through movement and allure.
In contrast, Howitsdun was an all male piece by Parson that gave the male company members an opportunity to shine in their strength, masculinity and sex appeal. The men dressed in slacks, button down shirts and ties, bounded through the space with an animal-like quality that was all power, while their exterior was cool, calm and collected. The rhythms were engaging in their syncopation making this a current jazz piece that successfully evokes the aesthetics of Gene Kelly and Matt Mattox.
Check it out for yourself!:
Another pick of the evening was the work of one of the guest artists, Jennifer Hamilton. This piece, called When My Train Comes In, was a much more contemporary jazz piece. The finely trained dancers moved with strength power and emotional investment. What made the movement less "traditional" jazz and more contemporary? Well, the intense musicality was there, but, was driven by something other than the structural play of rhythmic syncopation. This piece included rhythm as a means for driving the emotional content of the work, with the focus on regularly repeated movement to drive home the emotional desperation in the dancers.
The most contemporary piece of the show was Kate Hutter's HyperSuperUltraNow (LACDC). This trio was the most abstract (least narrative), performed by three very diverse women. The piece included the same type of precision as seen in the other numbers, but shed some of the jazz styling to transform the dancers into these quirky characters, bobbing and listing through the space. I found the material refreshing, playful and pleasantly odd. But, while this piece might read jazzy on a contemporary modern dance concert, it was definitely the most "stand out-ish" for branching away from the jazz value set.
All in all, I enjoyed the entire concert, and found that each piece offered me something to enjoy or think about. Kudos to the entire cast and to the rest of the choreographers, Olivia Gaugain, Dominic Chaiduang, Theresa Kahl, Shanon Novak, and Alex Little.
While the space is likely to sell out again (and the only real downfall of the evening was the flat seating for the audience), I encourage all dancers to attend the second performance today, Saturday March 30th, 2013. It is worth sitting on the floor if you have to (so don't wear a skirt!). Parson mentioned his vision of Commonality becoming THE premier jazz dance company of LA and after seeing this show, I think that he is already on his way.
Last minute I decided to jump in the car and head to North Hollywood to see Commonality Dance Company at Liv' Art Dance Studio. Adam Parson started the company in 1998 and has toured internationally as well as being an LA favorite. His style: Jazz.
Parson's choreography is an excellent example of Jazz dance that is diverse, entertaining, athletic and musical. His choreographic style hinges exclusively on the powerful relationship he creates with the music, and his ability to manifest a distinct and complex pallet of dynamics and effort qualities. What does that mean in every day language? His dances go beyond the flat aesthetic of cliché jazz dance. There is a richness to the movement, that is detailed, refined and precise.
One of my concerns with contemporary jazz practices is the tendency toward the overly dramatic and painfully hyper-emotional. Parson's work was honest and human without the affectations of "show." The dancers were relatable (despite their jaw dropping endurance, athleticism and pristine virtuosity). I love seeing dancers as people, and this show was full of people dancing. It was sexy, fun, well crafted dance that renewed my conviction to advocate for the genre in academia.
People wonder if Jazz has a place in Higher Education.
Well. . .
THIS jazz certainly does. The works I saw tonight were not only physically challenging, but ripe with compositional integrity, movement invention, design and musicianship. This is not just dancing to a good pop song. This is true craft.
But, the craft is so well done it is virtually invisible. In other words, the audience at large may not leave thinking to themselves "Wow! That musical counterpoint was tremendous!" or " Did you notice the use of the dancer's kinesphere? Such versatility in somatic connectivity!"
They leave with a smile on their faces, because they could see and feel that this was "good" dance. It included themes that they could identify with and movements that spoke to their souls. But, just because something is enjoyable doesn't mean we should leave it at that. We can't make the mistake of only analyzing the dances that are hard to get and or semi-sufferable!
Let's honor this dance form by seeing at it is: so much more than just beautiful bodies doing impressive steps. Parson is a composer of dance. He is a painter of the space and a visual musician.
Here are a few notes I made on some of the pieces that really stuck with me:
Good Intent was an all female piece choreographed by Adam Parson. The six women performed exquisitely. The movement pallet included small gestures and isolations that highlighted the hot/cool juxtaposition of jazz dance. The women were commanding and exact in their shoulder shrugs, hip rolls and hand gestures. I think I was particularly taken with this piece because of the musicality of the choreography and the way in which the movements embodied such a diverse range of movement qualities from sudden to sustained, direct and indirect, light and firm. The combinations were playful and enriching to the piece that was ultimately a playful and flirty seduction through movement and allure.
In contrast, Howitsdun was an all male piece by Parson that gave the male company members an opportunity to shine in their strength, masculinity and sex appeal. The men dressed in slacks, button down shirts and ties, bounded through the space with an animal-like quality that was all power, while their exterior was cool, calm and collected. The rhythms were engaging in their syncopation making this a current jazz piece that successfully evokes the aesthetics of Gene Kelly and Matt Mattox.
Check it out for yourself!:
Another pick of the evening was the work of one of the guest artists, Jennifer Hamilton. This piece, called When My Train Comes In, was a much more contemporary jazz piece. The finely trained dancers moved with strength power and emotional investment. What made the movement less "traditional" jazz and more contemporary? Well, the intense musicality was there, but, was driven by something other than the structural play of rhythmic syncopation. This piece included rhythm as a means for driving the emotional content of the work, with the focus on regularly repeated movement to drive home the emotional desperation in the dancers.
The most contemporary piece of the show was Kate Hutter's HyperSuperUltraNow (LACDC). This trio was the most abstract (least narrative), performed by three very diverse women. The piece included the same type of precision as seen in the other numbers, but shed some of the jazz styling to transform the dancers into these quirky characters, bobbing and listing through the space. I found the material refreshing, playful and pleasantly odd. But, while this piece might read jazzy on a contemporary modern dance concert, it was definitely the most "stand out-ish" for branching away from the jazz value set.
All in all, I enjoyed the entire concert, and found that each piece offered me something to enjoy or think about. Kudos to the entire cast and to the rest of the choreographers, Olivia Gaugain, Dominic Chaiduang, Theresa Kahl, Shanon Novak, and Alex Little.
While the space is likely to sell out again (and the only real downfall of the evening was the flat seating for the audience), I encourage all dancers to attend the second performance today, Saturday March 30th, 2013. It is worth sitting on the floor if you have to (so don't wear a skirt!). Parson mentioned his vision of Commonality becoming THE premier jazz dance company of LA and after seeing this show, I think that he is already on his way.
Monday, October 22, 2012
Live @ LALA (Oct 20, 2012)
I know! I know! It has been too long since I have posted and the reasons are far too complex to get into right now. Expect a future post to get to the bottom of that (or at least the middle).
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Saturday, September 1, 2012
MixMatch Run Down (Friday Aug 31st, 2012)
Another great show in the 6th Annual MixMatch festival. This time with a completely different feel and composition of styles and trends from the shoes last week. (Reviews for those shows here: Saturday 25th, Sunday 26th).
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Saturday, August 18, 2012
Artistry in the Jazz Dancer
I had the lovely opportunity to meet and work with a phenomenal group of Jazz dance teachers and dance theorists this past weekend. We were sorting out and preparing a presentation on Jazz dance technique and composition for NDEO this October. Super exciting!
Since then, I have had a continued discussion with Paige Porter from Loyola Marymount University on the specific issue of artistry in Jazz dance. Very interesting and timely stuff for me, and my mind is still whirling so I thought it was about time to put some of my thinking into writing to be shared with my dance interested readers. So, thanks to Paige who asked this question and got me thinking!
On the first day of my level 2/3 Jazz dance class this semester, I asked my students:
What makes a good dancer?
Their responses included naming things like dedication, technique, and expression. Only 2 out of about 8 groups identified creativity as an essential component of a dancer. Only 1 group identified musicality and no one specifically named artistry.
Interesting.
… and good for me to know as a teacher.
Anyone who has taken a dance class knows how important it can seem to "get it right."
"Step on count 2! Leg at 45 degrees! Higher! Release your head!"
And, even in my classes, I stress the need for precision and accuracy in performance. However, I don't want to do this at the cost of stripping the dancer of his or her sense of being an artist.
Like actors and singers, dancers are a living medium for art. Dancers are not lifeless clay on a wheel, paint on a canvas, or musical instruments that can be manipulated without feelings or sensitivity. The magic of being a dancer is that the dancer is both the medium and an artist. The non dancing choreographer is just a visionary, an artist without a canvas or paint set. Sometimes, it can seem that all the creativity is coming from the choreographer, but that is hardly true! The choreographer relies on the dancer's artistry to bring to life his or her artistic vision.
As an artist, the jazz dancer is a conduit, a craftsman, a technician, a medium, and a human. Sometimes dancers forget how important the human component is to being a true artist. Dancers must challenge themselves to be authentic in their performance, to make the movements and expression true and real. They are honoring the choreographic vision, by bringing themselves to the table and putting more of themselves into the dance. (Side note: I very much dislike the song "Are we human? Or, are we dancers?" I want to shout at the radio: Dancers ARE human! That is what makes us special!)
It is still the jazz dancer's job to be precise. And, here is the dilemma for many jazz dancers I know. It can seem contradictory for a teacher or choreographer to ask a student to be specific in her performance and yet include herself in the dance.
How can there be room for both precision and self expression?
The artist hones the craft of dance, studying the movement in a clinical way at times to discover the palette of expression that lives inside her body. In other words dancers must hone their craft so that they can work beyond the technique.
We, dancers, can't let a lack of technique get in the way of our expression as artists. Art exists in an artist's ability to choose. A jazz dancer must make expressive choices in performance, thus embedding his artistry in the performance as well. We must enliven the dance with ourselves. Our artistic voice is the animating spirit of performance.
Now, where does musicality fit into all of this? Coming from a family of musicians, musicality lives in my bones. I sense and feel music very intimately, and music is a strong influence in my performance quality. However, I need to clarify what I mean by musicality. In the music world, musicality refers to the artistic process of making music (producing sound that is expressive and artistic). Musicality in dance refers to the dancer's ability to relate to the music in performance in an expressive or artistic way.
These are not the same.
Dancers need a word that represents their ability to infuse a dance with their artistry while they are dancing (just like musicians). I suggest dancecality. We need a word that reminds the dancer that he or she is creating art in the specific and expressive performance of the choreography. Dancecality like musicality should refer to the performer's ability to bring nuance and expression to the performance, because that is the artistic experience of being a dancer.
It is the artistic responsibility of jazz dancers to tell the human story through their movement. The dancer is responsible for connecting with the audience and transporting them into the human condition. There is magic in this process and no amount of "technique" can replicate it. It must come from the artistic spirit of the dancer.
Lastly, I need to address the Jazz dancer as a choreographer. Jazz dance has not given itself a universal, useful framework for teaching young jazz dancers how to create jazz dance that is fresh, personal and unique while still remaining under the jazz dance umbrella. Laura Smythe's (Laura was another participant in our jazz dance think tank weekend) Master thesis addresses just this, and I am so excited for her research! Jazz dance is such a rich practice in American dance and dancers deserve to feel creative within their own art form. My hope is to draw inspiration from Laura's work and implement a choreographic component into my classroom that feeds the dancer's artistic spirit from a compositional perspective.
I want 100% of jazz dancers to feel creative and artistic in the performance of jazz dance.
I want 100% artist 100% of the time.
Dance on.
Since then, I have had a continued discussion with Paige Porter from Loyola Marymount University on the specific issue of artistry in Jazz dance. Very interesting and timely stuff for me, and my mind is still whirling so I thought it was about time to put some of my thinking into writing to be shared with my dance interested readers. So, thanks to Paige who asked this question and got me thinking!
On the first day of my level 2/3 Jazz dance class this semester, I asked my students:
What makes a good dancer?
Their responses included naming things like dedication, technique, and expression. Only 2 out of about 8 groups identified creativity as an essential component of a dancer. Only 1 group identified musicality and no one specifically named artistry.
Interesting.
… and good for me to know as a teacher.
Anyone who has taken a dance class knows how important it can seem to "get it right."
"Step on count 2! Leg at 45 degrees! Higher! Release your head!"
And, even in my classes, I stress the need for precision and accuracy in performance. However, I don't want to do this at the cost of stripping the dancer of his or her sense of being an artist.
Like actors and singers, dancers are a living medium for art. Dancers are not lifeless clay on a wheel, paint on a canvas, or musical instruments that can be manipulated without feelings or sensitivity. The magic of being a dancer is that the dancer is both the medium and an artist. The non dancing choreographer is just a visionary, an artist without a canvas or paint set. Sometimes, it can seem that all the creativity is coming from the choreographer, but that is hardly true! The choreographer relies on the dancer's artistry to bring to life his or her artistic vision.
As an artist, the jazz dancer is a conduit, a craftsman, a technician, a medium, and a human. Sometimes dancers forget how important the human component is to being a true artist. Dancers must challenge themselves to be authentic in their performance, to make the movements and expression true and real. They are honoring the choreographic vision, by bringing themselves to the table and putting more of themselves into the dance. (Side note: I very much dislike the song "Are we human? Or, are we dancers?" I want to shout at the radio: Dancers ARE human! That is what makes us special!)
It is still the jazz dancer's job to be precise. And, here is the dilemma for many jazz dancers I know. It can seem contradictory for a teacher or choreographer to ask a student to be specific in her performance and yet include herself in the dance.
How can there be room for both precision and self expression?
The artist hones the craft of dance, studying the movement in a clinical way at times to discover the palette of expression that lives inside her body. In other words dancers must hone their craft so that they can work beyond the technique.
We, dancers, can't let a lack of technique get in the way of our expression as artists. Art exists in an artist's ability to choose. A jazz dancer must make expressive choices in performance, thus embedding his artistry in the performance as well. We must enliven the dance with ourselves. Our artistic voice is the animating spirit of performance.
Now, where does musicality fit into all of this? Coming from a family of musicians, musicality lives in my bones. I sense and feel music very intimately, and music is a strong influence in my performance quality. However, I need to clarify what I mean by musicality. In the music world, musicality refers to the artistic process of making music (producing sound that is expressive and artistic). Musicality in dance refers to the dancer's ability to relate to the music in performance in an expressive or artistic way.
These are not the same.
Dancers need a word that represents their ability to infuse a dance with their artistry while they are dancing (just like musicians). I suggest dancecality. We need a word that reminds the dancer that he or she is creating art in the specific and expressive performance of the choreography. Dancecality like musicality should refer to the performer's ability to bring nuance and expression to the performance, because that is the artistic experience of being a dancer.
It is the artistic responsibility of jazz dancers to tell the human story through their movement. The dancer is responsible for connecting with the audience and transporting them into the human condition. There is magic in this process and no amount of "technique" can replicate it. It must come from the artistic spirit of the dancer.
Lastly, I need to address the Jazz dancer as a choreographer. Jazz dance has not given itself a universal, useful framework for teaching young jazz dancers how to create jazz dance that is fresh, personal and unique while still remaining under the jazz dance umbrella. Laura Smythe's (Laura was another participant in our jazz dance think tank weekend) Master thesis addresses just this, and I am so excited for her research! Jazz dance is such a rich practice in American dance and dancers deserve to feel creative within their own art form. My hope is to draw inspiration from Laura's work and implement a choreographic component into my classroom that feeds the dancer's artistic spirit from a compositional perspective.
I want 100% of jazz dancers to feel creative and artistic in the performance of jazz dance.
I want 100% artist 100% of the time.
Dance on.
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