V.19 No.42 |
It's the weekend and I just wanna dance.
Big UNM choreographer event
By John Bear [ Fri Oct 22 2010 1:42 AM ]
Still/Moving is a compilation of original works by undergraduate and graduate choreographers from the UNM Dance program happening Friday, Oct. 22 and Saturday, Oct. 23 at 7 p.m. at the Carlisle South Arena Performance Space on UNM campus. Two more performances are scheduled for Sunday, Oct. 24 at 2 p.m. and 6 p.m. Tickets are $12 general admission, $10 seniors and faculty and $8 for students. More information is available by phone at 277-4332. Tickets are on sale at UNM Ticket Offices. Call 925-5858 or go online at unmtickets.com. Nine pieces of dance are set to be performed, with some flamenco, some experimental, tango, weird ethereal stuff. It’s a variety too vast to list here. Support your local choreographer.
On second thought, this all sounds pretty interesting. Here's a list:
"Festejo Mexicano," choreographed by Esteban Eduardo Garza, is a piece representing three states from Mexico, taking the audience on a journey through its varied cultures.
"Allegiance," by Avalon Jay and Stuart Smith, is a piece with a mic, a looping pedal, body percussion and movement and explores what such a collaboration can produce.
"A Door In The Clouds" is choreographed and performed by Jacqueline M. Garcia. This is a piece about the journey between two worlds. The world of what we can see, feel, experience and know and the world of formlessness beyond what we can confirm with our senses.
"Tangos de Juana," by Jeanne d'Arc S. Casas Ponouze, shows traditional tango with latin music influence.
Stephenie Montoye's "Remember Me" explores the memories of a lover within a solo work. The music of Maurice Ravel accompanies the intriguing movements of this dance.
"Soleá por Bulerías" is a traditional flamenco solo choreographed and danced by Neanne d'Arc S. Casas Ponouze.
"Tastes Like Water" is choreographed and performed by Jocelyn Montoya, Marissa Manion and Dara Minkin and explores the dynamics of time through music developed through movement.
"Palabras y Memoria" is a solo work danced and choreographed by Marisol Encinias. This work is as an experiment for the choreographer who uses flamenco dance vocabulary in nontraditional sense to tell a story and convey feelings. The story revolves around a person who is consumed with specific words that are stored in her memory.
"Uwieziony³," by Aaron James Hooper, is a group work that presents the bondage of organized community overwhelming the presence of self and the struggle of attempting to regain self.
V.19 No.28 | 7/15/2010
By Patricia Sauthoff
V.19 No.25 | 6/24/2010
Bill Evans dances through the prime of life
By Patricia Sauthoff
V.19 No.23 | 6/10/2010
Rowdy’s Dream Blog #153: A Great New Dance
By Brutus De Cervantes [ Sat Jun 19 2010 6:10 AM ]
An old black man teaches us a great new dance to traditional Indian music, which we all love. With our feet in a walking pose, we scoot around backwards in a tight circle, propelled by our quivering forward foot.
V.19 No.22 |
Dance, Dance, Dance
By Patricia Sauthoff [ Tue Jun 8 2010 10:47 AM ]
A lot of you out there are already sold on flamenco. That's great. Get thee to the National Institute of Flamenco's "Festival Flamenco Internacional." You've probably already got tickets.
Now, the rest of you. What's your problem? I hope it's not some kind of misguided idea that traditional equals boring. Here's the thing. You probably think you know something about flamenco, but there's a lot more to learn. That's right, grab your glasses and a notebook, it's time for a lesson.
First, flamenco isn't Spanish dance. It's an Andalusian musical style that's accompanied by movements with gypsy, Moor, Byzantine, Andalusian (and a few others) roots.
Wait, what? The Moors. Those are Muslims, right? Yuppers, you got it. Back in the day, when this little thing called the Crusades was going on, Muslim armies came to Spain where they got along pretty well with the Christian natives. (One big difference was that no one levied taxes on those of other faiths.) So the two groups shared music and art, making some really unique stuff. Like flamenco.
That's fascinating! What else?
So glad you asked. Flamenco flourished during the late 1800s, with guitarists and dancers performing in public, rather than the previous when-
In the 1920s Federico García Lorca, a huge flamenco fan, organized a festival called "Concurso de Cante Jondo," which featured flamenco from many different traditions, rather than just the popular ones that were seen by the public. After Lorca's fest, flamenco got all sort of theatrical and there is a plethora of academic drama about whether it lost its spark, which I shall spare you. Your welcome.
Today, flamenco is often known for its bright red costuming and dramatic style. It has these things, yes, but flamenco isn't just some stuffy performative art. It is style itself. So now that you've got your little history lesson, go check out some flamenco!
"Festival Flamenco Internacional" runs from Wednesday, June 9 to Sunday, June 13. Tickets range from $20 to $90, depending on the performance. A complete schedule is available right here.
Kazuo Ohno (1906-2010)
By Patricia Sauthoff [ Thu Jun 3 2010 2:39 PM ]
After he lost his ability to walk, in 2001, Japanese dancer Kazou Ohno simply danced in his wheelchair.
Sadly, the dance is now over, as Ohno, at 103, passed away yesterday. Not exactly a household name, Ohno's image crept into pop culture early last year as he graced the cover of Antony and the Johnson's The Crying Light.
But avant garde art fans are likely to know Ohno as the emotional force behind butoh, a dance form that originated in Japan in the late 1950s and gained popularity in the west in the 1980s.
Ohno is one of those artists who lived life like it was art itself, which probably explains why his work is so captivating. Though he didn't begin to dance until he was nearly 30, once he did, he never stopped. In 1933 he began to study modern dance, an activity that was derailed by his being drafted into the Imperial Army during World War II. After his release from a New Guinea prisoner of war camp after the end of the war, in which he'd spent 9 years, he immediately returned to the artform.
In 1960 Ohno teamed up with dancer Tatsumi Hijikata, who had created controversy the year before with his new style of dance. Together the two created one of the most otherworldly styles to hit the stage.
To watch butoh is to see a dancer move with a ghostly presence. The action is sometimes so slow it's barely intelligible, though at other times dancers hop along a stage in a series of painful-looking movements.
Sometimes considered performance art rather than dance form, butoh's legacy is not without controversy. But lets not get into that. Lets, instead, just remember a master, one of the most graceful performers to ever take the stage. The man who, two years ago, said "On the verge of death one revisits the joyful moments of a lifetime. One’s eyes are opened wide-gazing into the palm, seeing death, life, joy and sorrow with a sense of tranquillity."
V.19 No.14 | 4/8/2010
By Erin Adair-Hodges
Join the Movement
This I Believe
Keshet Dance Company’s Ani Ma’amin at the KiMo Theatre
By Christie Chisholm
V.19 No.10 | 3/11/2010
By Erin Adair-Hodges
Mark Twain Tonight! at Popejoy Hall
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