Category Archives: contemporary

CDF12: Chicago Dancing

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The Chicago Dancing Festival (CDF) kicked off its sixth year with a performance showcasing local talent.  CDF Board Chair David Herro welcomed the audience and took a few minutes to talk about the origins of the fest and its mission.  He said it’s threefold: 1) to make Chicago a national and international dance destination, 2) to keep elevating the dance form and building an audience by providing the best dance at the lowest possible cost – free!, and 3) to provide a forum, a place where these dancers can come together and watch each other perform.  Mission accomplished.

Our dance-loving Mayor was up next, introduced by Herro as “probably the only Mayor in the United States that can do a proper plié”.  (True and something I’m not ashamed to say I’m particularly proud of.)  Rahm Emanuel took the mic, quipping that his plié talent came in handy in the City budget meetings.  While introducing the opener of the show – a performance by After School Matters Hip Hop Culture Dance Ensemble, a program started by the late First Lady Maggie Daley – the current Mayor acknowledged the Daley family in the audience and said the work’s title Touch of Soul was perfect because “dance is the hidden language of the soul.  I can’t think of a better tribute to the soul of our city, Maggie Daley”.  Mayor Emanuel finished by thanking the family – “from the entire city, thank you for sharing her with us”. (Tear.)  That beautiful, but melancholy moment was short lived, because seconds later, 31 young dancers dressed in white took the stage in a world premiere by choreographer Nicholas Leichter with such energy and enthusiasm that the audience was whooping with joy.

Hometown heavy-hitters Hubbard Street Dance Chicago (HSDC) technically tantalized in the epic, exhaustive Scarlatti.  Choreographed for HSDC by Twyla Tharp in 2011, this work for twelve dancers is a testament to speed and stamina.  In their CDF debut, Giordano Dance Chicago (GDC) paired up with Swedish choreographer Alexander Ekman for a humorous duet featuring lead dancers Maeghan McHale and Martin Ortiz Tapia about life and love, but not necessarily a happy ending.  (Great job Maeghan and Martin!)  Intermission was abuzz with conversation, the packed theater a mass of movement, hand shakes and hugs.

The Joffrey Ballet opened Act II with William Forsythe’s In the Middle, Somewhat Elevated.  This contemporary masterpiece from 1987 changed the way people thought of ballet.  The stark set, the off-center partnering, the hyper-flexibility and “I don’t care” attitude wowed audiences then and continue to now.  Dancer Rory Hohenstein’s multiple, multiple pirouettes amazed.  (He later attributed them to a slippery stage.)  The finale of the show was a collaboration with choreographer Larry Keigwin, a few of his dancers and everyday Chicagoans.  Introduced by CDF co-founders Jay Franke and Lar Lubovitch, Bolero Chicago was a tribute to our city.  Big and small, short and tall, the dancers in this piece represented everyone.  A lady reading a newspaper, a woman walking her dog, a passerby smoking a cigarette, a commuter biking to work, a cluster holding on for balance on a bumpy el ride, and a man in drag losing a battle with his umbrella and the wind.  Bears, Bulls, Cubs and Sox tees – even Benny the Bull merrily flipping around the stage.  Illuminated cell phones lit the stage before bows were replaced by the “everyday” contingent jamming out on stage.

Chicago Dancing had something for everyone and everyone liked something different. Perfect.

Dance For Life Artist Spotlight: Lizzie MacKenzie

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Dance For Life performer Lizzie MacKenzie.

“I love dance,” she said, eyes glistening with tears.  Meet Lizzie MacKenzie – a petite, blonde whose energy and blue eyes light up the room.  At 33 she has already lived lifetimes in the dance world.  When she was 12, she joined a friend for “Bring a Friend to Dance Day” in Toronto, Ontario and was hooked. “It was immediate,” MacKenzie said. “I got to kick my legs and spin around the room.  I didn’t know what I was doing, but I loved it.  From the first class I took, I knew it was what I was going to do forever.”

Since that fateful day, she graduated from Interlochen Center for the Arts, danced on scholarship and as an apprentice for Giordano Jazz Dance Chicago (now Giordano Dance Chicago – GDC) before joining the company for five seasons, studied in New York City and Los Angeles, danced with River North Dance Chicago (RNDC) for six years.  She started Extensions Dance Company while still dancing with RNDC and after “retiring” opened Extensions Dance Center.  She is also on staff at Chicago High School for the Arts, Visceral Dance Studio and Steps Dance Center (Naperville), and choreographs and performs as a freelance/independent artist.  If you’ve seen dance in Chicago in the last decade or so, you’ve seen her.  And, if you have seen her, you won’t soon forget it.  She radiates joy from the stage.

This Saturday, MacKenzie joins fellow Chicago dancers to perform in the 21st annual Dance For Life (DFL) at the Auditorium Theatre.  Dance For Life is a benefit dance performance bringing together local companies and artists for a one-night-only show to raise funding for the AIDS Foundation of Chicago and the Dancer’s Fund.  She’s performed in so many past DFL shows that she honestly can’t remember how many.  We settled on at least ten, where she participated in the finale choreographed by Randy Duncan (and one by Harrison McEldowney).  This year is no exception. MacKenzie dances in one of Duncan’s infamously difficult closing numbers and will be performing with Ron De Jesús Dance.  RB met MacKenzie at her studio to discuss her career and this year’s show.

What brought you to Chicago?

Nan Giordano came to Interlochen and taught a Master Class.  She offered me a scholarship for the school in Chicago.  I told my parents that I wasn’t going to go to college. They were always good about that, but they told me if I was going to be a big girl, then I was going to be a big girl and they were cutting me off.  ‘If you’re not going to do college, you’re going to support yourself.’  Literally two weeks out of high school I moved to Chicago.  I went on scholarship at Giordano Dance Center, lived in somebody’s attic without a kitchen and worked two jobs.  I wouldn’t recommend it, but it’s definitely helped form who I am. It worked for me.

Since you’re “retired”, how do you stay in fighting shape?

I use the term very loosely. I’m not retired, but I felt like it was time to retire from full-time work.  Sustaining a relationship isn’t easy.  (She’s newly engaged to chiropractor Michael Pontarelli – “Dr. Mike”.)  Not that I have that much time now, but I have more.   I’ve been freelancing.  I’m dancing with Ron (de Jesús), dancing in the finale, in Wade Schaaf’s new company Chicago Repertory Ballet, I’m going to do some work with Ahmad (Simmons) and Brandon DiCriscio. I manage to fill my time up.  I commit myself to two classes a week.  I try for three.   I try to get in whenever I can.  I teach a lot. 

You started the youth company while you were still in Rivno.  Have you always wanted to have a company?

I definitely always wanted to have a youth company. If you’d asked me a few years ago, I would’ve told you that I wanted to have a dance studio.  That changed when I was teaching so much and realized how much stuff comes along with that.  So I started the youth company, because I left a studio and a couple of kids came with me and they wanted to perform.  We needed a name and I said, “It has to be Extensions”, because that was what I was going to name my youth company, I just didn’t think it was going to happen now. I thought that would be when I was done dancing.  It started out with four girls in 2005.  I just started “Extensions Too!” And that’s for ages 8 to 11.  That was a new experience this year.  That’s why we opened the studio.  It was just a natural progression.  There was no way I could do the things I wanted to do.  I was renting space.  This is great – now I have constant access. 

 You have such a wonderful stage presence.  How do you teach that – or can you?

I have a really genuine and innate love for the art form.  I love what it has done for me.  I feel it has really brought me out of my shell.  I believe in dance as a means to communicate and movement as a means to communicate.  I’d say some really important things I try to instill in the kids to help them understand that is the love of the art form and a really open state of mind.  We work a lot on being open. We improv a lot.  We do a lot of things that allow them to really open their minds and see more. Harriet Ross once told me that every time she saw me dance it seemed new.  It always looks new.  And it always feels new.  Even today in ballet class, every thing feels new.  It’s not just another plie to me.  It’s the investigation.  A simple plie to me is amazing.  The body is so amazing and the possibilities are amazing.  From feeling the air around my skin to seeing the space with my eyes or feeling my back…the investigation of movement is fascinating to me and brings me a lot of joy. 

How is working with Ron?

I love being in process with him.  This is my third time – once w/ GDC, but twice as an independent dancer and older artist.  I love working with him.  I feel like there’s a nice balance between him appreciating who I am or who each artist in the room is as an individual, but still having a clear enough vision of what he wants that he’s able to mix them nicely.   He doesn’t down you if you make a choice that he wasn’t thinking.  He’s able to appreciate your choices, but make sure you’re meeting his vision too.

The show itself is such a community effort.  What’s dancing in the finale like?

It’s great.  I’ve never felt any stress.  This year is definitely my hardest.  The finale might be the hardest thing I’ve done in my whole life. The thing is, when you go on stage for “Dance For Life”, it’s a different feeling.  You know what the audience’s intention is for being there.  Of course, you’re a little nervous because you put an expectation on yourself, but for some reason when you step on stage, you know that even if you mess up, it’s ok.   When I’m on stage at “Dance For Life” I feel warm. I feel good.  The process is always a little daunting, because it isn’t a lot of time.

I’ve heard many dancers over the years say that Randy’s finales are always the hardest things they’ve ever done.  Why?

I think he really likes to challenge his dancers.  He has a lot of respect for the dancers he chooses and he really likes to push them, particularly physically.  It’s all in a deep, deep plié and a deep contraction.  Honestly, you don’t a lot of work like that these days.  And the cardio of it all, that’s the killer.  I literally thought I was going to throw up.

What’s in your future?

It’s always worked out for me that my future becomes very clear as I continue on my path.  Of course, I look back and think, I could’ve done this.  But I’m happy with my path.  There’s only “x” amount of years to live.  You can’t do everything.  I think I’m just going to keep doing what I’m doing.  Hopefully things will continue to grow.  I don’t want the youth company to get too much bigger.  I think we’re able to produce the quality we have, because it’s small.  The open classes have been going well.  I’ll keep dancing until I can’t anymore.  Maybe have a kid.  I really want to have babies, so that will happen sooner or later. 

Dance For Life at the Auditorium Theatre at Roosevelt Universtity, 50 E. Congress Pkwy. Saturday, August 18 at 8 pm.  For ticket information, visit www.danceforlifechicago.com.

 

 

CDF 12 Artist Spotlight: Hubbard Street’s Jesse Bechard

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The studios at Hubbard Street Dance Chicago (HSDC) were eerily quiet last week.  The dancers were on a well-deserved break and the staff was holed up in their offices busily preparing for the upcoming season (rehearsals started yesterday).  Fresh off a three-week trip to Costa Rica, dancer Jesse Bechard agreed to meet with me before taking an afternoon ballet class.  After spending an hour chatting with the 31-year-old, this is what I know. He’s smart, funny, loyal, curious, an avid reader, and a self-proclaimed news junkie. He plays drums, he loves kale – and, let’s be honest – he’s pretty easy on the eyes.

Bechard grew up in the Northeast (Connecticut, Massachusetts) and cites seeing Baryshnikov dance on tv as his impetus to start dancing.  Here’s the Cliff Notes of his early career:  danced in various Nutcrackers and recitals; quit dancing during the middle schools years to focus on academics and play sports like soccer, basketball and lacrosse; started dancing again at 16/junior year of high school; went to Walnut Hill School for the Arts for his senior year; attended Boston Ballet summer programs; quit dancing again to go to college (one year at University of Chicago); moved to New York City to dance (and wait tables); apprenticed with Ballet Austin for a year; joined Richmond Ballet in Virginia where he danced for eight years.  Whew!  “I didn’t have that much exposure when I was growing up dancing,” he said.  “The things that were put in front of me as goals were all these white tights things.  I didn’t know what was going on in Europe.  I’d seen Hubbard Street, but I didn’t know about NDT (Nederlands Dans Theater).  In the early 2000’s I went to see NDTII and that really changed my trajectory substantially.  ‘Well, there it is!  That’s what I’d like to do.’  I remember the next day in class, my whole motivation and what I was focusing on had really shifted overnight.  I never really had that much of a desire to be the prince at all.  You always idolize Baryshnikov.  He’s beautiful. He does incredible things.  But I don’t think I was built for that.  It’s an interesting point when you come to the realization of what you want to do and what your body is aesthetically built for.”

The “third time is a charm” adage rang true to for Bechard and his bumpy adventure to reach HSDC.  He auditioned for three times before everything worked out.  The beginning of the financial crisis, other contract obligations and lack off an opening in the company all delayed his debut with HSDC until August of 2010.  In 2011, Bechard performed at the Chicago Dancing Festival (CDF) for the Moderns (Sharon Eyal and Gai Behar’s Too Beaucoup) and Masters (Jiri Kylían’s Petite Mort) programs.  This year he’s scheduled to perform Twyla Tharp’s Scarlatti in the Chicago Dancing program on Monday, August 20, and Ohad Naharin’s Tabula Rasa in the closing night’s Celebration of Dance on Saturday, August 25.  (Casting may change.)  Here are some excerpts from our chat.

The first thing I remember seeing you in was Nacho Duato’s Arcangelo.  Since then, it seems like you’ve been in everything.  Who were some of your favorite choreographers to work with or favorite pieces?

Nacho was really fun to work with. It was really fun to work with Yoshi (Fumi Inao), who came to set Ohad’s  (Naharin) work.  “Too Beaucoup” was a really difficult process for me.  I was new.  I’d only been in the company six months at that point and certain things, like Nacho’s piece were within my comfort zone.  Then we come in and have this crazy Israeli woman dancing around asking you what you got out of that.  You get to a point in this company where you get much better at learning the way that things operate.  It’s not often in a ballet company that someone will come in and do something and ask what you got from it, so you learn a lot more how to interpret what you do.  We do a massive amount of improvisation.  If you make it up and it looks convincing, it will probably work.  It’s true.  If you’re tentative and hesitant, that reads.  But if you’re like this is what I’m going to do, that’s a choice.  It really doesn’t have to be right, it just has to be what you intend to do.  You can take risks and something can happen that you didn’t intend, but you have to make it happen.  As you get more comfortable with that it becomes more enjoyable.  In her process, I was not quite used to that and her movement style is…insane.  The process was cool, but it wasn’t my favorite process, but now it is one of my favorite pieces to perform in terms of the visceral experience as a dancer.  You’re in this unitard, you have contacts on, you have a wig on, you’re dancing to this killer music with these awesome lights and you’re just one little cog in the wheel. It’s awesome for your brain.  You’re just in there, talking to yourself.  You have to count everything.  There’s 9 of these and 14 of these and 12 of these. I think that’s the piece with the biggest difference between how much I enjoy doing it and how much I enjoyed the process. I love Sharon and Gai, they were really cool, but the process was really hard.

“Petite Mort” (Jirí Kylían) – that’s another thing you want to check off the list in your dance career.  That’s one that for most dancers, you really, really want to do. It’s almost a perfect piece.  It’s concise, it’s short.  It’s not overdone.  It is so insanely musical and so simple.  The whole men’s section…getting six guys to breathe together.

When you all turn around that first time and swipe the sword…it’s such a great moment.

That’s definitely one of the most stressful things…walking down with it balanced on your finger.  Finding that balance point is difficult.  You get good at it, but when the curtain opens up, there is a shift in air and then you’re trying to walk backwards, downstage and find your mark and look at the other person, then lower your sword down and as you lower it, trying to keep it balanced on your finger. I love dancing in silence with only the sounds of the swords.  There’s such a cool internal rhythm to it. 

Alejandro’s (Cerrudo) stuff feels really good to do.  The movement feels really nice.

Does his work become shorthand after a while, since you’ve worked with him so much? 

It becomes much easier to know what he wants.  I think it’s like that with a lot of choreographers.  You know what they like to see.  Not even what they like to see, it’s not about ass-kissing or pleasing someone, but you kind of have an idea of what aesthetic they’re shooting for, so you can just get to it quicker.

The Forsythe piece in the Summer Series was amazing.  You were in both casts.  How did you get through that week?  

It was really difficult.  That was a hard program.  I drank a lot of Pedialyte.

What was the learning process like for Quintett?

The people that he sent – Thomas (McManus), Stephen (Galloway) and Dana (Caspersen) – they were fantastic.  None of us really knew what to expect when they came in.  That process was great.  I really enjoyed working with them. I think what Thomas was asking me to do and trying to get out of me and everybody felt massively different from the beginning to the end.  And then it felt massively different from when we did it here and at ADF. 

Did you get to meet William Forsythe at the American Dance Festival? 

Yeah, he worked with us.  He comes in wearing jean, sneakers and a tee shirt. He’s a totally quirky, awesome, incredibly laid-back guy.  I’ve heard that he can really not be that way, but anyone who is trying to create something can go a little crazy. He wasn’t like “Forsythe”.  He was joking about himself and totally mellow. He was super encouraging.  In that piece, because of the nature of the music and the movement, you really are supposed to go for it as much as you can.  And if something happens that didn’t happen before?  See where it goes.  

At the Harris, I’m pretty sure I saw you slide off the stage at one point.

I fell at one point.  I was running and sliding and hit a tape mark.  But honestly, that could be the movement. 

There was something different about that work.  Even in rehearsals, if was the first time I saw you guys laughing and having fun in rehearsal. Not that you don’t have fun, but everyone seemed really laid back and you seemed to be having such a good time, especially on stage.

It makes you smile.  We don’t have a lot of smiling pieces.  It feels like that when you’re doing it.  We weren’t putting that on.  In rehearsals, you’re kind of like – gasp! – dying, but on stage, it makes you smile. The fact that it was made right after his first wife passed away, you thought it was sort of memorial, but it’s a celebration of life and memory.  Working with them there was no stress.  There was so much respect.

So, Twyla. What was it like working with her? 

It’s another one of these “icon” people.  She was great.  She was super fun to work with.  She a little ball of energy.  She could power a city.  She 71 now. She was jumping on me and wrapping herself around me – totally off the floor.  I’m there with Twyla hanging off of me thinking ‘I can’t drop her. This is a lawsuit waiting to happen.’  She’s so professional and has such a specific style and procedure of working. She’s a workhorse.  She didn’t take lunch.  She would have lunch brought to her and stagger our lunches, so we could have lunch, but she could continue working throughout the day.  

How is dancing Scarlatti?  

It’s a fun piece to do.  It’s entirely different than “Quintett”.  In “Quintett”, you want to really throw yourself at it.  “Scarlatti”, you throw yourself at it too, but there are parts that are much lighter on the floor.  It is super musical, so it’s fun to dance.  I think it’s exactly what she intended it to be.  It exactly fits the music. I’d like to work with her again.  

Chicago Dancing Festival 2012 runs August 20 – 25.  For more information, visit chicagodancingfestival.com.

Slideshow Photo Credits:

Bechard with Ana Lopez in Jirí Kylían’s “Petite Mort”.  Photo by Cheryl Mann.

Bechard in “Arcangelo” rehearsal with Penny Saunders and Nacho Duato.  Photo by Igor Larin.

Bechard headshot by Cheryl Mann.

Bechard in Jonathan Fredrickson’s “Untitled Landscape”. Photo by Todd Rosenberg.

Bechard and Penny Saunders in William Forsythe’s “Quintett”. Photo by Cheryl Mann.

Bechard and Jacqueline Burnett in Alejandro Cerrudo’s “Malditos”. Photo by Todd Rosenberg.

Bechard and Ana Lopez in Alejandro Cerrudo’s “Little Mortal Jump”. Photo by Todd Rosenberg.

 

 

 

Ballet Lab Chicago

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Photo by William Frederking.

Are you a ballerina with an edge?  A dancer with classical training, but likes to move more outside of the box?  Dare I say, a rogue ballerina?  Local dancer/teacher/choreographers Emily Stein and Paige Cunningham Caldarella have a workshop designed just for you.  Ballet Lab Chicago is a one-week intensive contemporary ballet workshop being held July 30 – Aug 3 at Visceral Dance Center (2820 N. Elston Ave.).  Two morning technique classes – 10:00 to 11:30 and 11:30 to 1:00 pm/teachers will alternate – give you a warm-up and a solid base for an afternoon rehearsal – 1:00 to 3:00 pm – where both choreographers will “workshop” new choreography.  On the final day, there will be a works- in-progress showing of the resulting dances.  Aside from the full workshop ($300), there are two class options:  a 5-class option (you can choose any five classes – $100), or the entire week of nine classes ($150).

Stein and Cunningham met about five years while teaching at the Dance Center of Columbia College.  Because they both taught the same level and had some of the same students, they started talking about what was going on in the classes and found they had similar approaches.  Columbia’s summer program ends in mid-July and although there are many other companies housing workshops around Chicago, they thought this would be a good time for their students to get some extra classes before school session start up again in the fall.

I sat down with Stein and Cunningham at the Dance Center to find out more about their Ballet Lab.

Why did you create Ballet Lab?  

ES:  We both are interested in choreographing using the ballet vocabulary, which we don’t always have the chance to do here.  It’s also an opportunity for us to get some playtime choreographically that was something more specifically focused on contemporary ballet. There’s a showing on the last day.  I think we’re both hoping that it gives us a chance to springboard into some new work next year, either in terms of choreographic ideas that we develop in that week, or in terms of meeting new dancers or finding people we want to work with in the future.  We’re both interested in approaching the ballet vocabulary in a choreographic way.  I’ve always been teaching ballet, I was classically trained, it’s my first language and my first love, but obviously most of my performing career was in modern dance…very avante garde modern dance.  I’m trying to bring the ends of these things together, because in my brain there are similarities.

Can you explain what you mean by “approaching ballet choreographically”?

ES:   A lot of my work in the last ten years since I did the solo-commissioning project (working with Deborah Hay), kind of sent me on this journey of improvisation and scores.  I’m really interested in structure.  Ballet is full of structure, but it’s not improvisational structure.  It’s the opposite…or is it?  I guess that’s my question.  I’m interested in exploring the vocabulary and playing with ideas of structure and score.  For example, if I create a combination and then I give instructions of what to do with the combination, what will happen to it?  Each dancer will bring something new to it.  How open can that be?  Or how specific does it need to be in order to be a replicatible piece that’s interesting to watch?  Scores are really interesting, but it’s a big risk because sometimes it’s just boring to watch.  It just doesn’t work.  Can you make it work and make it different every time, or not?  A lot of times in improvisation workshops there was “not that”, “not an arabesque”…well, why not?  That’s in my body, that’s part of my language.  If that comes out, why is that wrong?  I don’t mean it to be judgmental.  I’m just questioning these things.  What if you take these really abstract ideas of score, but you approach them intentionally with ballet vocabulary in your body, as your language…allowing yourself to access that.

PC:  I like that.  I feel like that is something that comes up.  I’ve caught myself working with young students saying, “that’s familiar, don’t do that” and then they shut down.  That’s what they know.  How do you let them do that, but find a new, interesting approach to it. 

How are your teaching styles different?

ES:  My class has a classical base, but I approach it from a really somatic point of view.  We spend time in class working on mechanical and somatic principles that they can then use in technique.  They develop efficiency.  They get to know their body better and it’s not just about  being able to do stuff, but about finding pathways to do things effectively.

PC:  My class tends to be more contemporary ballet, like a ballet hybrid.  We’ll do a more traditional barre, but the center work might be phrase work or explore things choreographically, so it isn’t necessarily the traditional ballet class structure.  I feel like I was a dance misfit.  I started ballet when I was 3, so I had a lot of classical training, then I went to Julliard and had a lot of formal, technical training.  I was never going to be in a classical ballet company.  Body-wise and the way I approached ballet class, I knew I wasn’t going to be in a ballet company.  Then I ended up at Cunningham which was perfect, because I could use a lot of my ballet training, but still be a modern dancer.  I never felt like I could fit into a downtown modern dance scene.  I wasn’t weighted in that way, so I was in this weird in-between place, but I love ballet vocabulary.  For me, it’s exploring taking your pelvis off-center or you may go into the floor and come up to find that verticality of ballet.  It’s kind of a mish-mosh approach.  There are probably teachers that would call it “bastardized ballet”.  I think part of it was when I came here I saw so many students struggling with ballet, because we have generous admissions, we have students that are 18 and have never studied ballet before.  I started thinking, how can we approach this so they can see how modern can feed into it, or jazz or African. 

ES:  You said ballet misfit.  That was kind of our point of connection.  We’ve both felt that way.  We have a ballet background, but we don’t fit into that mold as performers.  I feel that for both of us, making connections for the students…trying to make the students understand they don’t live on the ballet planet.  There’s one planet, it’s rewarding, it’s not scary or limiting to be able to be able to do all these other things, to be able to think about movement in all these different ways.  There’s a place where if you approach it a certain way, ballet really is organic. 

PC:  Ballet Misfit Academy!  That’s what the t-shirt should say.

What’s your end goal aside from a successful workshop?

ES:  We’ve been talking for a long time about doing a collaborative show, but we have some extenuating circumstances that are changing the game a little bit. (Caldarella is pregnant.)  Both of us look at it as an opportunity. Any time I get to play and make stuff, it becomes something.  There is no end goal.  Everything is a step to the next thing.  We’d like to do the workshop every summer.

PC:  Maybe finding ways of connecting with other Chicago organizations.  Maybe time it so we have a group of five weeks and make it a larger collaborative intensive.  

Ballet Lab Chicago, July 30 through August 3 at Visceral Dance Center, 2820 N. Elston Ave.  Spots are still available, register here!

40 Years of Muntu

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Muntu dancers in action. Photo by Marc Monaghan.

Muntu Dance Theatre of Chicago celebrates 40 years of performance, education and preservation of African and African-American dance. The word muntu means “the essence of humanity” in Bantu and that essence, that human connect, is what the company brings into everything it does.  For the newcomer, a Muntu performance is quite the spectacle.  Not only traditional African dance, but contemporary offerings with drummers and musicians performing with such passion and dynamic energy, you can’t help but be swept up in the moment.  Amaniyea Payne, the Artistic Director since 1987, lists some of the company’s highlights over the years:  being able to take the company to other countries and continents (Africa, Mexico, Brazil), to be internationally recognized as a reliable source of this artistic form, to continue educating at summer dance intensives (Colorado Dance Festival, Bates Dance Festival), having the company at full-time status so the artists are able to survive on their craft, working with world-renowned artists on collaborative performances (Arthur Hall, Ronald K. Brown)…you get the picture.  “It’s a milestone to still be here, to still be performing, to still be enlightening people,” she said last week in a phone interview.  “We’re still looking at the institutionalization of our organization.  We want to continue to connect, to promote and to inspire.”

Dancer/choreographer Jeffrey Page. Photo by Djeneba Aduayom.

Payne, 58, has been an inspiration and influence to many young artists over the years, most notably a young boy from Indianapolis, IN that now has quite a reputation in the dance world.  Dancer/choreographer Jeffrey Page has been a guest choreographer on So You Think You Can Dance, starred in Fela! on Broadway, got an Emmy nomination for his work on the NAACP Image Awards show, and choreographed the finale of the 2005 Billboard’s Music Awards.  His most famous collaboration – so far – has been working with Beyoncé on her 2007 world tour and choreographing the video for Girls Rule the World.  “I’ve known Jeffrey since he was 11 years old, since he started his mission to become a dynamic performing artist as well as choreographer,” said Payne.  Page affectionately calls her Mama Amaniyea and consistently asked to create something for Muntu.  She always answered, “in time that will happen”.  Well, it is happening now.  Page’s Beauty, I Am will make its world premiere this weekend as part of the New Voices/New Vistas program at the Harris Theater.  Page’s work will have the company showing a more contemporary flair.

Also on the program, See (In) Me a contemporary piece by former River North dancer Monique Haley;  Roff, a work inspired by the national dish of Senegal – “it’s tasty, a lot of spice, a lot of flavor, but stays traditional”; Djole, a traditional mask dance from Guinea, West Africe and Sierra Leone; Tribute: Afro-Caribe and Djembe Drum Talk featuring the Muntu musicians.

Muntu Dance Theatre presents New Voices/New Vistas on Saturday, July 21 at 7 pm, Harris Theater, 205 E. Randolph Dr. Tickets are $15 – $175.  Call 312.334.7777 or visit harristheaterchicago.org.

CDF12 Sneak Peek: Giordano Dance Chicago

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Giordano dancers Martin Ortiz & Maeghan McHale work with choreographer Alexander Ekman. Photo by Joel Solari.

A whimsically humorous contemporary duet by Swedish phenom choreographer Alexander Ekman will mark Giordano Dance Chicago‘s (GDC) debut performance at the Chicago Dancing Festival (CDF) this August.  A small group was given a preview yesterday afternoon at Columbia College’s studios on South Wabash.  Ekman, 28, danced with the Royal Swedish Ballet, Nederlands Dans Theater (NDT), Cullberg Ballet and Ballet du Rhin before embarking on his choreographic career, which started in 2006 with a piece created for NDT II.  Since then, he has made new works for companies around the world.  His work, Two Become Three, was originally created last year on dancers at Julliard where CDF co-founder Lar Lubovitch saw the piece and commissioned it for the opening night of this year’s festival.

Ekman has been in town since Monday and set the piece on GDC dancers Maeghan McHale and Martin Ortiz Tapia in about three days.  Ekman recorded a voice over that plays on top of the score providing an audible inner monologue of the characters on stage.  A “surprise” prop at the end of the piece provides another layer of humor to the tongue-in-cheek piece that garnered laughter from the viewers at rehearsal.  The piece is lighthearted and fun, but the dancing is anything but simple.  These two seasoned dancers take the physical and theatrical demands in stride.  An obvious respect and rapport grew out of the intense few days in the studio and the result will delight the audience at Chicago Dancing on Monday, August 20 at the Harris Theater for Music and Dance.

Debuting at CDF12 isn’t the only exciting things happening for GDC.  Kicking off their 50th anniversary season, the company changed its name (notice the “Jazz” is gone), has a brand new website and logo, as well as new administrative offices (1509 S Michigan Ave, 2nd floor) and is a resident company at the new American Rhythm Center* (ARC) which will open new studio space later this month. If good things come in three’s, they’ve overshot by a few and I see only more good things in the future for GDC.

Chicago Dancing Festival presents Chicago Dancing at the Harris Theater, 205 E. Randolph, Monday, August 20 at 7 pm.  Tickets will be released Tuesday, July 17 at noon.  For more information, visit www.chicagodancingfestival.com. 

*More information on ARC here.

 

Chicago Dancing Festival 2012

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Martha Graham Dance Co dancer Xiaochuan Xie on the Pritzker stage.

The Chicago Dancing Festival (CDF) hits Chicago stages for a week of free dance performances again this August.  Now in its sixth year, CDF – the brainchild of Lar Lubovitch and Jay Franke – is expanding (again) to six days of events with new programs and a couple of commissioned world premieres to boot!  RB will be part of CDF’s blogger initiative for the second year, bringing you sneak peeks, dancer/choreographer interviews, event coverage, reviews and wrap ups.  I’ll also be live-Tweeting pre- and post-event coverage for the Fest complete with photos, behind-the-scenes happenings and audience quotes.

New to the fest this year is an all-Chicago program, Chicago Dancing, featuring local faves Hubbard Street Dance Chicago (HSDC) and Joffrey Ballet and three CDF commissioned works.  Giordano Dance Chicago (note the new name!) makes its CDF debut in a work by Swedish choreographer Alexander Ekman.  New York-based choreographer Nicholas Leichter will work with the After School Matters students to create a world premiere honoring the memory of Maggie Daley, former first lady of Chicago, who started the program in 1991.  A two-week residency led by Larry Keigwin blends dancers and non-dancers from Chicago into a world premiere, Bolero Chicago.  Keigwin’s new work, set to Ravel’s most famous score, will incorporate local movement traits for a uniquely Chicago piece.  New groups performing at the fest this year include Pacific Northwest Ballet and Ballet Arizona, along with returning companies San Francisco Ballet, Houston Ballet, New York City Ballet, Martha Graham Dance Company and Brian Brooks Moving Company.

A partnership with Chicago SummerDance, the city’s outdoor dancing series, for Dancing Under the Stars and prolific local dance writer Zac Whittenburg leads a lecture demonstration, Chicago Now, with local companies at the MCA Stage.  Programming for both of these event to be announced at a later date.   A day of Dancing Movies also takes place at the MCA with films including PINA, All Is Not Lost, Two Seconds After the Laughter and Fanfare for Marching Band curated by local artist Sarah Best.  The fest always ends with a Celebration of Dance at the outdoor Pritzker Pavilion stage in Millennium Park showcasing a number of artists that have performed throughout the week.

Tickets for all of the events are free, however, you do need to reserve seating for the indoor theaters in advance.  These will “sell out” very fast!  More information on tickets will be available the week of July 16th.

Cerqua Rivera New Works 2012

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Cerqua Rivera dancers Joey Schuman, Christina Chen & Andrea Deline in "Pedestal".

For the third year, Cerqua Rivera Dance Theatre (CRDT) presents an intimate show of in-house choreography and musical compositions at the Hubbard Street Dance Center.  New Works 2012 features eight artistic collaborations with CRDT musicians, dancers, choreographers (and one guest choreographer) and two musical pieces.  The three-hour event will also include a reception with a silent auction CRDT founding member, artist Matt Lamb’s work, who passed away this year.  The dances will all be revised and performed in CRDT’s annual Fall Concert.  Artistic Director Wilfredo Rivera and Producing Director Joe Cerqua team up again for two pieces on dreams – a romantic duet Dreaming of Home and De Suenos Y Deseos (Of Dreams and Desires) exploring those dreams we have when we’re half asleep.  Via email, Rivera tells me about the process of New Works.  “CRDT develops works more like a theater.  We work as a team developing ideas for a piece.  Sometimes the idea comes from a choreographer and/or composer.  It’s my job to ‘team’ folks accordingly.”  Other choreographers include CRDT Rehearsal Director/dancer Raphaellle Ziemba, dancer Josh Pawelk, guest choreographer Mei-Kuang Chen and Benjamin Marshall a student at the Chicago High School for the Arts (CHIARTS).

Being a political junkie, I was immediately drawn to Pawelk’s work which includes a soundscape designed by CRDT Musical Director Stu Greenspan featuring Robert F. Kennedy’s post MLK assassination speech, The Mindless Menace of Violence, and quotes from President Obama’s 2008 race speech A More Perfect Union.  Dance, politics and Obama?  That’s like crack to me.  I corresponded with Pawelk, a four-year veteran of CRDT, via email from his home in Delano, Minnesota about his work 40 Years Later (originally created for New Works 2011 and for CRDT’s Jubilation Concert celebrating black history month).

Why did you want to make a piece with political themes?

When Wilfredo came and asked me if I would like to set a piece on the company, I wanted to create a piece that they could put in their repertoire that would breathe some new life and new perspective for their Jubilation Concerts.  I know and understand that black history is our history too, but to have a piece that is driven from a white person’s perspective that has so much power and thought and concern for everyone’s life in our country who lived through that tough and troublesome time in our nation’s history.

Why did you want to use RFK’s speech?

In 2006, there was a major motion picture titled “Bobby” that was released. It was about the assassination of Bobby at the Ambassador Hotel and how it affected the lives of 22 people who were in the hotel that day.  Towards the end of the movie, they have his speech playing as you see a montage of the devastation and sadness that people felt because of the tragic loss of his life.  Watching that while hearing his brilliantly spoken words struck a chord in me.  I was so moved by it I wanted to combine the emotional movement I felt with physical movement.

When did you decide to include comments from President Obama?

It was actually Stu’s idea to include the comments Obama made in his speech to illustrate how that even 40 years after Bobby gave his speech, we as people are still facing the same social issues in our country today.

Did you come up with the concept first and then ask him to do the sound design?

I did come up with the concept first of wanting to use only Bobby’s speech because even though it’s just his spoken word, I hear a definite rhythm and flow in the way he delivered that speech.  I had suggest to Stu that the music I was thinking for in the background be something light and ominous so it wouldn’t take away from the rhythm in his speech.  Stu came up with the idea of using Curtis Mayfield’s song “Hard times” in the background.  Since it was going to be a rep piece for the Jubilation Concert it was important for him to use a track by an African American musician who was around during that time period with music that definitely reflects the sign of the times. 

Did you go into the studio with just the idea or did you set the choreography first?

The majority of all the pieces I create starts with a concept.  When the concept, the music and the emotion are all figured out, I go into the studio and allow myself to surrender to the piece completely, letting the music and the story behind it to move me. 

Cerqua Rivera Dance Theatre presents New Works 2012 at the Hubbard Street Dance Center, 1147 W. Jackson Blvd on Saturday, June 23rd at 6 pm.  Tickets are $20 ($50 tickets will benefit the CRDT Youth Programs).  Reservations are required.  Call 312.243.9310 or email crdtoffice@comcast.net.

 

Johnny-Come-Lately

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HSDC dancer Johnny McMillan in "Quintett". Photo by Cheryl Mann.

The past few weeks have been pretty good for Johnny McMillan.  In late April, he was promoted from HS2, Hubbard Street Dance Chicago‘s (HSDC) second company, to the main company.  He was immediately cast in William Forsythe’s Quintett (a big fucking deal), which he danced with veteran company members in the Summer Series at the Harris Theater earlier this month.  In addition to Forsythe, he performed a tiny part in resident choreographer Alejandro Cerrudo’s Malditos – “I was a cross-over girl.” – and sections of the group work by Israeli choreographer Ohad Naharin THREE TO MAX.  He’s now setting a new work for HSDC’s in-house choreographic workshop Inside/Out, which will be the third piece he’s made since joining HS2 in 2010.  Did I mention he’s only 20?

That’s a lot to absorb for his petite 5’6″ frame, but he’s enjoying every minute.  “I wasn’t really nervous for Malditos at first, because I was just going on stage and doing three counts of eight,” he said last week from HSDC’s West Loop studio.  “But the first night, I run out on stage, slide, and my whole body goes ‘oh no, there are people here’.  That’s when it hit me.  I’m dancing with the main company.  Everything I’ve wanted in dance is happening.” That he got to dance a Forsythe piece in his first show is a testament to his talent and maturity.  Dancing alongside Ana Lopez, Alejandro Cerrudo, Jacqueline Burnett and Jesse Bechard, McMillan fit right in.  “It was a surreal experience,” he said.  “The nice thing about starting with Forsythe was…it wasn’t directed at the audience.  From the moment you’re on stage, you don’t have time to think about anything but the people you’re dancing with and what you’re doing.  That was nice.  It was just being on stage for 25 minutes and having a blast.  That’s the most fun I’ve ever had with a piece.”

Hitting the ground running, so to speak, he’s already learning tons of rep like Twyla Tharp’s speedy marathon Scarlatti and Sharon Eyal’s brain-twister Too Beacoup, while also rehearsing the three works he’ll perform at Inside/Out, as well as setting a solo on HSDC dancer Penny Saunders set to “Goin’ Out of My Head” by Little Anthony and the Imperials.  “It’s really groovy.  We were in Kansas (on tour) in the airport and I heard this song.  I was outside smoking a cigarette and it was on and – shazam! – this is it”, McMillan said.  “I’m really liking the solo and everything Penny is doing with it.  He’s taking a new approach with this piece, working more with improv than strict, set steps and patterns.  Inspired by memories of entertaining his parent as a child and watching videos of HS2 artistic director Taryn Kaschock Russell’s son Donovan, McMillan found his groove.  “Kids have this carelessness.  It’s always about the music.  I really want to play with this lack of counts and just hearing and feeling the music…not even choreographing to the music, but the way it makes you feel.”

McMillan’s work premieres this weekend along with 17 new works from HSDC dancers and artistic staff in the intimate UIC Theater.  Tickets are still available, but going quickly.  The thing I find most intriguing about Inside/Out and new works programs (there are a ton in Chicago) is that when the tables are turned and the dancers have the opportunity to create the movement, you really get a glimpse at who they are as people, not just as performers.  Don’t miss this chance to see you favorite HSDC-ers in a new light.

Hubbard Street Dance Chicago presents Inside/Out at the UIC Theater, 1044 W. Harrison St, Saturday, June 23 at 5 & 8 pm.  Tickets are $20 ($35 for VIP, $15 for students).  Call 312.850.9744 or visit www.hubbardstreet.com.

 

Luna Negra Dance Theater: Luna Nueva

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Luna Negra dancer Eduardo Zuniga in "En Busca de". Photo by Nathan Keay.

Luna Negra Dance Theater opened a run of their Luna Nueva program last night at the MCA.  Fast, frenetic, interesting, architectural, strange, wonderful and expertly danced.  You still have three chances to catch the three new works for the company by talented choreographers Gustavo Ramírez Sansano, Diana Szeinblum and Mónica Cervantes.

Here are some of the reviews for last night’s performance:

Chicago Sun Times, trailorpilot, Chicago Tribune

Luna Negra Dance Theater presents Luna Nueva at the MCA Stage, 220 E. Chicago Ave., through Sunday, June 10th.  Tickets are $28 ($22 for MCA members).  Call 312.397.4010 or visit www.mcachicago.org/performances.