Tag Archives: Theater

GO PRO TECHNOLOGY MEETS MODERN DANCE

30 Jan
Photo credit: Marisa @Rockpaper

NEON BRAVE – Photo credit: Marisa @Rockpaper

GoPro cameras have been attached to skiers, skydivers, animals, you name it! But finally a choreographer has taken the plunge and has decided to attach GoPros to dancers – the first time the mini cameras will be incorporated into a full-length dance work. white road Dance Media, a modern dance company based in Brooklyn, NY, will premiere Neon Brave on Thursday, Feb. 19  at Triskelion Arts new performance space in Williamsburg/Greenpoint.

GoPros will be a way for the audience to see, “what dancers see.” Projections unique to each of the four performers, including the nude soloist, will allow the audience to experience the feeling of participating, even “existing” in the dancers’ environment. Footage from GoPros will offer a different type of audience immersion, unique to this production.

Photo credit: Marisa @Rockpaper

Photo credit: Marisa @Rockpaper

“The use of GoPro cameras, particularly during the nude solo, will hopefully give the audience the feeling of dancing nude,” said Marisa Gruneberg, company director and choreographer. “And there’s no better way to see the body’s full expression, its vulnerabilities and beauties, its guts, than to see it nude and in motion. Being totally nude onstage is bravery in and of itself. Now the audience will experience that bravery as well.”

With Brooklyn the cutting edge locale these days for what’s new and innovative, it’s no surprise choreographers there are pushing the envelope!

Adria Rolnik is helping promote white road Dance Media NEON BRAVE at Triskelion Arts in Brooklyn, NY. Visit http://wrdm2015.brownpapertickets.com for tickets.

<p><a href=”http://vimeo.com/117248127″>white road Dance Media perform NEON BRAVE February 19, 27 & March 7</a> from <a href=”http://vimeo.com/whiteroaddancemedia”>white road</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

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TUDOR BALLET “DARK ELEGIES” HAS FINGER ON THE PULSE

20 Apr

I saw Antony Tudor’s Dark Elegies performed last night at New York Theatre Ballet’s “Legends and Visionaries” program at Florence Gould Hall, NYC.

Though created by Mr. Tudor in 1937, the ballet couldn’t have been more current. Tudor described this work as his favorite ballet, and many consider it to be his greatest. “From bursts of rage to tender moments of quiet devastation, Tudor’s ‘ballet requiem’ expresses the raw emotion of a tight-knit community faced with the inexplicable loss of their beloved children,” explains the Antony Tudor Ballet Trust.

"Dark Elegies" - ABT - Fall, 2005. Julie Kent and Grant Delong. Photo courtesy of Sally Brayley Bliss

“Dark Elegies” – ABT – Fall, 2005. Julie Kent and Grant Delong.
Photo courtesy of Sally Brayley Bliss

Newtown, Connecticut grieves for 20 children and six adults gunned down at Sandy Hook Elementary School in December. Boston grieves in the wake of Monday’s marathon bombings, with three dead and more than 260 injured. Together, we grieve as a nation.

It has been 76 years since Tudor choreographed Dark Elegies. Everything has changed, yet nothing has changed. The ballet’s subject matter and emotional content feel raw. Dark Elegies has its finger on the pulse. Perhaps it always will.

Dark Elegies is danced to the Song Cycle Kindertotenlieder (“Songs on the Death of Children”) by Gustav Mahler (1860-1911). The work consists of five songs to lyrics by Friedrich Rückert. It was first performed in London by Ballet Rambert on Feb. 19, 1937. First cast included Peggy van Praagh, Maude Lloyd, and Agnes de Mille. First US Performance was by American Ballet Theater (Ballet Theatre) at New York’s City Center, January 24, 1940.

NY Theatre Ballet performs chamber ballet masterpieces and new works by emerging choreographers, and innovative one hour ballets for children. By pairing the ballets of legendary creators with those of new visionaries, NYTB helps audiences to rediscover the old and be thrilled by the new.

TAP DANCE, REVISITED

15 Feb

I haven’t tap danced in 47 years. But I remember when I first took ballet and tap, as a kid back in Brooklyn. “Miss Lorraine’s Dance Studio” certainly offered tap, and lots of it. Ballet class wasn’t the only dance form on my agenda!

I always liked tap and still remember a step or two, but who’d ever think I’d wind up working on a project with the American Tap Dance Foundation? Well, there you go. Again and again, things come full circle.

Maybe this blog is “AdriaBALLETbeat,” but ballet and tap, together, is where it all began for me. I recently published a story in the Huffington Post Arts/Culture page called, Tap Dance Preserved, which included an interview with Tony Waag, Artistic/Executive Director of the American Tap Dance Foundation. Please have a look:

“Tap is jazz, tap is Broadway, tap is culture blending at its best — the history of tap is rich, the dancing electric. We should pay attention.

For more than a century, tap has fought for its place on the legitimate stage. Appropriate venues where tap dancers, both aspiring and professional, can perfect their craft are limited. The American Tap Dance Foundation (ATDF) is one of only a handful of dance companies committed to ensuring that tap and its family of performers receives recognition alongside the masters of ballet, modern and jazz.

The Tap City Youth Ensemble -- Photo: Carolina Kroon

The Tap City Youth Ensemble — Photo: Carolina Kroon

ATDF has recently embarked on a new collaboration with Jazz at Lincoln Center, bringing talented young musicians and dancers together to share their musical and rhythmic ideas and explore jazz culture. ATDF has spearheaded the development of The Gregory Hines Collection of American Tap Dance Archives at the New York Public Library for the Performing Arts. Education and preservation go hand in hand and are the cornerstones of the Foundation’s mission.

Two new productions, blending the history of tap as well as new, contemporary work will open March 19 in New York City. Top tappers Brenda Bufalino, Michelle Dorrance, Derick K. Grant and Savion Glover‘s protégé, Cartier Williams are participating. There is a lot going on.

In a sit-down with Tony Waag, artistic and executive director, we learned more about the American Tap Dance Foundation mission and how they continue to stretch the boundaries of the form:

Tell us about the beginnings of tap. How did it become part of the American culture?

Well, it actually was born and became what we know as Tap Dance right here in NYC. In fact, it was primarily developed and identified as tap dance in what was called the “5 Points District” in lower Manhattan. Freed African slaves and Irish immigrants lived there together, and danced publicly and socially, often in competition.

Why is preservation so important to ATDF?

Tony Waag -- American Tap Dance Foundation. Photo: Lois Greenfield

Tony Waag — American Tap Dance Foundation. Photo: Lois Greenfield

Because so much of its history has already been lost. Only so much could be handed down through stories. The general public knows very little about it, and how amazing that history is! Tap parallels American history, and had to overcome the same prejudices and social issues we’ve all had to acknowledge.

Tap is ultimately a performance art. How do you integrate performance and preservation?

There are several ways. We showcase vintage video footage, such as in Rhythm is Our Business, one of our upcoming shows in March. Then, of course, we also videotape the shows. We also add “Meet the Artists” discussions before our shows, so we can put everything in context.

How will the upcoming performances showcase past and present?

Rhythm is Our Business is using swing as the theme of the evening. The band, the vocals, the choreography, the dancing, the costumes are all in the swing style. Rhythm in Motion is using contemporary music and much of the choreography is hot off the presses. Each piece has a different point of view and has been created and/or inspired by contemporary issues.

What is the future of tap? What can we look forward to in the long term?

I think we will see much more mixed media in productions, experimental use of site-specific venues and new surfaces to tap on. We will also see much more from the international community, with different musical influences from other cultures… everything is cyclical, you know. Personally, I’m going back to basics and experimenting with Busby Berkeley motifs like in Tap It Out, a piece I did this summer at NYC’s World Financial Center. We had 151 dancers do a modern take on orchestral unison percussion and movement, out of doors, right next to the Hudson River!”

Rhythm Is Our Business
The Theater at the 14th St Y, NYC
Tues., 3/19-Thurs., 3/21 – 7pm and 9:30pm
http://www.brownpapertickets.com/event/327158

Rhythm in Motion
The Theater at the 14th St Y, NYC
Fri., 3/22-Sat., 3/23 at 7pm and 9:30pm
Sun., 3/24 at 3pm
http://www.brownpapertickets.com/event/327849

Adria Rolnik is helping promote the American Tap Dance Foundation.

A portion of this blog first appeared in the Huffington Post Arts/Culture Page, February 7, 2013.

MY FAVORITE “MEN DANCERS” IN NYC – JAN 2013

30 Dec

An outstanding cast of dancers, choreographers, directors and scholars will appear together this January in NYC, in a special production of “The Men Dancers: From the Horse’s Mouth.”  Spanning all ages and traditions, this diverse group of performers will join together to dance and share personal stories with the audience, with big names in the dance world participating.

Lar Lubovitch in The Men Dancers, Jacob's Pillow, July 2012. Photo: Christopher Duggan

Lar Lubovitch in The Men Dancers, Jacob’s Pillow, July 2012. Photo: Christopher Duggan

Former NYC Ballet principal dancer Charles Askegard, master choreographer Lar Lubovitch, former NYC Ballet principal Jock Soto,  acclaimed dance figure Gus Solomons Jr.  and Trent Kowalik (one of the original “Billy” performers from the musical Billy Elliot) will be among the cast of 30 — Bessie and TONY Award winners, Ernie Award recipients and dance legends will share the stage in this four-day event.

Last summer, a special all-male version of From the Horse’s Mouth premiered at Jacob’s Pillow Dance Festival in honor of Ted Shawn, the festival’s founder. Inspired by the success of that production (part of the Pillow’s 80th anniversary season), The Men Dancers: From the Horse’s Mouth is back!

Following is a conversation with Jamie Cunningham, founder of From the Horse’s Mouth, about this extraordinary production:

Jamie Cunningham in The Men Dancers, Jacob's Pillow, July 2012. Photo: Christopher Duggan

Jamie Cunningham in The Men Dancers, Jacob’s Pillow, July 2012. Photo: Christopher Duggan

How did you come up with the idea for Horse’s Mouth?

I have known Tina Croll, co-founder of From the Horse’s Mouth, since 1966, when we were young dancers and choreographers at Dance Theater Workshop in New York City. Fourteen years ago, I attended an Al-Anon meeting where each person spoke for three minutes about a problem they were having and how they were working to resolve it. I kept thinking how this process was “real theater.” Upon leaving the meeting, I happened onto a sign in front of Yoga Institute, reading, “one truth, many paths.” And that’s when then idea for From the Horse’s Mouth came together… to create a piece featuring many dancers and choreographers doing many different things. I immediately phoned Tina and told her it would be interesting to put together a piece where dancers could talk about their lives and their work — whether serious or funny — exploring their own style of dance as well as interacting with other people working in quite different styles, ie. an Indian classical dancer interacting with a Spanish flamenco dancer; a ballet dancer interacting with hip hop.

Do you see a historical value to this personal story telling?

Yes, indeed. When we introduced the production 14 years ago, our friend Sharon Kinney,  a former dancer with Paul Taylor, asked to do a documentary of the piece. Lincoln Center’s Library for the Performing Arts  also shot 10-minute interviews with each of our dancers from the original production, which is now part of the Library’s permanent collection.

Why are dancers, choreographers, directors and scholars drawn to perform in this piece?

What has made this piece so successful with dancers and the audience is its diversity and variety — we are all a part of this process of theater and dance… part of a larger, common humanity. It’s a common ground that we all have. From the Horse’s Mouth is like the UN — although it started out with our friends in the modern dance world, it has evolved over 14 years to include all races, sexes and cultures. It reminds the participants that they are not separate — they are all a part of the greater field of theater and dance.

How will the NYC production of The Men Dancers differ from the one presented at the Jacob’s Pillow 80th Anniversary season in July, 2012?

There will be some changes — for example, former NYC Ballet principal dancer Jock Soto will be joining us and dance critic Jack Anderson and his partner George Dorris, together for 46 years, will participate, talking of the changes they’ve seen in the role of male dancers over many years. We are delighted to see the return of former NYC Ballet principal Charles Askegard (now artistic director of Ballet Next) and master choreographer Lar Lubovitch to The Man Dancers for the NY run.

What’s in store for the future?

An all-tap version of Horse’s Mouth is planned by the American Tap Dance Foundation in NYC in April 2013. There will also be a production in Boston to celebrate the beloved teacher, choreographer and dancer Martha A. Gray.  Next fall, Horse’s Mouth will be in San Francisco honoring choreographer and dancer Margie Jenkins. Also on the fire is an all male — and all female — version of Horse’s Mouth for the 2014 World Pride Celebration in Toronto, Canada.

We are also planning a production in 2015 connecting the arts and sports, sponsored by the University of Toronto — we’ve been dying to do a piece with athletes!

About From the Horse’s Mouth

Adria Rolnik is helping promote The Men Dancers: From the Horse’s Mouth, Jan. 10-13 at the newly renovated Theater at the 14th Street Y, 344 East 14th St (between 1st and 2nd Avenues), New York, NY 10003. Gala celebration and performance on Jan.10 at 8 p.m, with performances continuing on Jan 11/12 at 8pm and on Jan 13 at 3pm. Visit http://themendancers.brownpapertickets.com/for tickets

This blog first appeared on the Huffington Post Dance Page, December 17, 2012.

HEATHER WATTS AND TRACY STRAUS ON THE POWER OF ARTS EDUCATION

7 Jun

While scrolling through my Facebook News Feed a few weeks ago, I noticed a colorful photo posted by Heather Watts, former principal dancer with New York City Ballet. It was an eye-catching image of 300 children, all smiles with hands in the air, on stage at the Vilar Performing Arts Center in Beaver Creek, Colorado. The caption read, “CTB end of year performance” and congratulated the children, their teachers, “and Tracy, for organizing it all!”

Celebrate the Beat year end performance – May 4, 2012

What was CTB, I wondered? Why was Heather Watts involved with children in Colorado? And who was Tracy? I was curious, and wanted to learn more.

It turns out Heather is chairperson of Celebrate the Beat, (CTB), a not-for-profit Colorado-based organization which teaches music and dance classes to children. The program was founded by Tracy Straus, now Artistic Director of CTB, and is an associate of Jacques d’Amboise’s National Dance Institute.

(Associates of National Dance Institute – ANDI – is a collective of arts education programs inspired by National Dance Institute’s pedagogy. ANDI members share best practices, maintain standards of excellence and promote the growth of community arts education programs for children. More than 30,000 children are served annually by ANDI programs).

I decided to reach out to Heather and Tracy to find out more about Celebrate the Beat, what it takes to bring arts education into the public schools, and the positive impact such programs have on students.   What follows is a conversation on the wonderful and important work they are doing.

A conversation with Heather Watts:

Since retiring in 1995 as a principal dancer with New York City Ballet, you have given so much back to the dance community. You’ve lectured at Princeton and taught academic courses at Harvard; you are a lecturer on the works of George Balanchine, educate dance academics and work with professional dance students training future instructors. You have worked with The National Endowment for the Arts, serve on the Artists Committee for the Kennedy Center Honors, and are on the Hunter College’s Dance Advisory Board.

Heather Watts, former principal dancer with New York City Ballet

I have recently learned you are also chairperson of Celebrate the Beat, the Colorado-based NDI associate organization teaching music and dance classes to children.  Your hope is to motivate students “to believe in themselves, value artistic expression and develop personal standards of excellence.” What a wonderful endeavor.

How did you become involved with Celebrate the Beat? I had long admired National Dance Institute (NDI), the organization Jacques D’Amboise created. In fact, as he was in the beginning phase of creating NDI in the mid 1970’s I would often pass the small rehearsal hall after late rehearsals at NYCB and stop to watch and listen as Jacques worked with all sorts of SUPPOSED non-dancers; these were policemen, kids, and at one point he was involved in teaching and working with the hearing impaired as well… his passion and ability to get people from all walks moving and engaged is a true gift!!

In 2007, when my husband Damian Woetzel took on the artistic direction at the Vail Valley International Dance Festival, we both felt it was important to offer the entire Vail community access to dance. Since NDI is a fantastic dance and movement program with live music, I spoke to Tracy Straus, the associate director at NDI, who I knew through my friendship with her mother. It turned out she already had a Colorado based organization called Celebrate The Beat, and with the incredible energy of Damian at the VVIDF and Ceil Folz who runs the entire Vail Valley Foundation, we were able to start up immediately that summer and Tracy has built an amazing and robust program in Vail and in other communities in Colorado. This year CTB is moving into schools in Denver where we feel we will be addressing a diverse student body that really stand to benefit from the confidence and joy that CTB brings to kids!!

What influenced you to advise and mentor an organization teaching love of the arts to children? I have always believed that those that have been given a lot need to share in all areas of life. Both my mother and Mr. Balanchine were very civic minded and empathetic and it was a wonderful example and environment to be raised around, first at home in southern California and then later on at NYCB. I believe strongly in the power of arts education to engage and empower young people.

What are the rewards of participating in such a program? Is there a different kind of satisfaction in introducing school children to dance than in teaching professional dancers or students in university dance programs? Watching the pride that the youngsters take and the great energy that is in the room is VERY powerful!!!!

Do you work with the CTB children hands-on? I watch the students with tremendous pride and admire Tracy and her staff. Damian teaches hands on in his various projects with young students, both with Tracy and in the work he does with Yo-Yo Ma volunteering in schools. I am really happy watching, applauding, and plotting how to reach even more students!

Heather Watts and husband Damian Woetzel, Artistic Director of the Vail International Dance Festival

Do you think programs like CTB make a difference? I met a third grade teacher in Vail that told me he was truly against CTB for his kids. He felt it was a distraction from their studies and testing until he started to notice that the boys fought and fussed a lot less on days that they had CTB and that attendance was much better too… he is a true believer today for sure! It’s very important to utilize team work and create self esteem for learning. There is a big movement to justify arts in schools with facts and statistics that prove the usefulness of the arts, but I am a believer in engaging all children BECAUSE IT’S THE RIGHT THING TO DO, ENGAGING YOUNG HEARTS AND MINDS IN CREATIVE AND JOYFUL EXPERIENCES.

It’s always a struggle to find funding for the arts. What can be done to encourage public and private funding of programs which mentor arts education for children? As long as arts programs and arts education for children is considered an add-on, their funding will be the first to go. Today there is a much needed focus that is growing daily here in America on our education system and on necessary improvements in how we engage and measure our children’s progress. Arts education is a big part of building a 21st century creative mind, and I think that we have let way too many kids lose their way by not drawing in their young minds with music, dance, painting and the other various ways we can express those things we do not have words for.

Do you foresee a growth in the associate programs of the National Dance Institute? Oh yes indeed! NDI has a long, LONG fantastic reach that is growing day by day!!!!!!! Don’t forget it’s called NATIONAL Dance Institute — BRAVO to Jacques and his amazing program!! What an accomplishment. KUDOS to Tracy for all she does for both NDI and CTB and to our team on the ground in Colorado!! And special shout out to Ceil Folz the visionary head of the Vail Valley Foundation – she just makes it happen for the kids in the Vail Valley!!!!!!!!!

How can we help CTB, and other associates of National Dance Institute, to expand? What can arts advocates do to support and encourage development of similar programs? CTB is training more teachers and Tracy is generous to give away all her knowledge and expertise to all who will listen just as Jacques trained her. There are many fine Arts Ed Programs in America, and we can all help them grow by donating even small amounts of money, or by attending events put on in the schools or by starting our own!!!!!!! You can send money to both NDI and CTB online or in the mail. For more ideas if you believe in arts education and want to help, you can go on to www.DonorsChoose.org  and look up arts needs in schools, and help an individual teacher get the supplies she or he needs or help in other ways. Take a look, its amazing!! Even the smallest donation helps.

A conversation with Tracy Straus:

Tracy, you are the founder and Artistic Director of Celebrate the Beat (CTB), and have spearheaded the development of ANDI – Associates of National Dance Institute, a collective of arts education programs. You serve as the National Dance Institute (NDI) Associate Artistic Director, and lead their Residency Program. You are one of a core group of educators who have who have helped found NDI associated organizations across the country.

You engage and motivate young dancers. Introducing young people to the arts is your passion. Who better to talk to about the nuts and bolts of introducing young people to the arts via dance outreach programs? In fact, Celebrate the Beat began as an outreach program of Aspen Santa Fe Ballet.

Tracy Straus, Founder and Artistic Director of Celebrate the Beat

How does a dance educator go about establishing an outreach program, and how do such outreach programs become associates of the National Dance Institute? A few wonderful NDI associate programs have been created by teaching artists who have become “Master Teachers” after many years of working tirelessly for NDI in different and extremely challenging public school settings in NYC. Other associate programs have been created by dance educators who have been trained by us, and who then continue their training by assisting a master teacher on a few two or three week intensive ‘residency’ programs, during which they teach daily alongside a fabulously talented teaching artist. I was extremely fortunate to have begun working with NDI at a time when Jacques (d’Amboise) was teaching a lot, and he took an interest in seeing me reach my potential, and invited me to assist him on many projects. I was also so fortunate to have been trained by three other extraordinary teachers: Catherine Oppenheimer, Lori Klinger and Ellen Weinstein. Eventually, after working in NYC for seven years, then working with NDI New Mexico for a year, Aspen Santa Fe Ballet hired me to create an ‘outreach’ program for them. Because the teaching is extremely effective, principals in other towns in Colorado wanted the program, and so it grew and became independent. And now, with the support of the Vail Valley Foundation, and a committed group of funders in Crested Butte and Paonia, it has grown tremendously. And in January we were awarded a grant from the Adams County School District in Denver, which supports our expansion into four schools Denver in the 2012-2013 school year.

Each NDI associate program has a very different “birth” story, but share one crucial element: the founder is brilliant in teaching children and other teachers, passionately committed to inspiring communities through this work, and excited by the challenge of raising funds to make it all happen.

During and after school hours, CTB teaching artists “serve entire grades or an entire school.” How do schools elect to participate in your program? Are you approached by the public schools to bring your program to them? Do you go to the schools to suggest arts programming? In most cases principals have heard about the success of CTB and approach us.

Do children choose to participate in the program, or are they enrolled as part of the regular school curriculum? To highlight our belief that to create a better world, ALL children need excellent first hand experiences in art, we place our classes alongside science, math, reading in importance, and the ENTIRE class participates during the school day.

How do the associate organizations fund raise? Do they receive support from NDI? Each organization is one hundred percent independent financially and in every other way. Associate programs share a vision and mission, but are run independently.

Do local school budgets contribute to financing your program? In some cases yes, in others no. Our most recent expansion in Denver is possible because the Adams County School District has committed to financing half the cost of our programs in four new schools in Denver.

How are you working to make the program grow? What can we do to promote arts education in the schools? Our growth continues to be very organic, in that we are responding to a demand for programming that truly benefits the child, her family, and the community at large. Thank you for asking what you can do to promote arts education in our schools. I answer by saying financial contributions are an excellent way to express your support and experience the joy of watching the children touched by this program excel in ways you didn’t quite know possible!

I see there are currently 11 associate organizations for NDI. How do they recruit instructors? Are they found locally? How are they trained in the NDI method? Each organization runs their program completely independently. Some send their teachers to NYC to participate in NDI’s Teaching Artist Training Workshops, some train them in their home programs.

Can you give an example of a success story? A child whose life may have been changed by participation in the CTB program? Oh yes…so many……a child who began a school year struggling in every subject excelled in CTB dance classes. By the end of the year he was also excelling in the classroom, and then was invited to dance on a world class stage – the Gerald Ford Amphitheater, accompanied by Yo Yo Ma….he continues to thrive in CTB and all areas of his life.

NDI’s founder Jacques d’Amboise said, “the arts have a unique power to engage and motivate individuals toward excellence.” How can we support the growth of programs such as Celebrate the Beat, programs that make a difference in the life of a child? Please join our mailing list and become involved as a friend and funder!

Find out more:

Celebrate the Beat

National Dance Institute

Associates of National Dance Institute

Master Class with Jacques d’Amboise – HBO’s “Master Class” on YouTube

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