Editorial – Page 32

Dance In The UK: Latitude Festival

July 2, 2012 by 4dancers

by Jessica Wilson

The line-up of Latitude Festival 2012 has been launched, due to take place on 12-15 July at Henham Park in Suffolk, UK. With tickets already on sale, the dance and theatre bill highlights look set to take the Festival by storm with a huge variety of acts taking place.

For example, the National Theatre will showcase Alice By Heart, a National Theatre Connections production from the writers behind the hit musical adaptation of Spring Awakening, with documentary-theatre company Look Left Look Right premiering their Latitude commission of four new musicals. Political activist Mark Thomas will preview his new play about his father, Bravo Figura, before taking it on to Edinburgh’s Traverse Theatre, emphasising the breadth of works being presented at Latitude, and the talent within these. Theatre Delicatessen are also set to premiere their new production, Henry V, in The Outdoor Theatre where Globe Education at Shakespeare’s Glove – London – will also perform.

Additional highlights include Australian superhuman circus company C!rca, the Lyric Hammersmith with its brand new series of highly experiential site specific theatre pieces, Battersea Arts Centre, Harold in Havana, HighTide (Suffolk’s leading festival theatre company), Pentabus Theatre presenting specially created work The Diggers Band and internationally renowned contemporary dance favourites Sadler’s Wells from London who will return to The Waterfront Stage. The Sadler’s Wells programme includes Candoco Dance Company, a company of disabled and non disabled dancers and Sadler’s Wells Associate Artist and leading figure in British hip hop scene, Jonzi-D.

With Latitude featuring such prestigious performance companies as the National Theatre and Sadler’s Wells, the Latitude tradition for presenting the best in new dance and theatre will continue. Melvin Benn, the Managing Director of Festival Republic and the founder and creator of Latitude Festival commented that the bill for 2012 will see Latitude present many sensational artists yet again, each of which the Festival is thrilled to announce, making the Festival confident that 2012 will be the best Latitude to date and maintain its title as the king of the multi-arts festival.

Eleven dedicated arts stages will offer performances to festival-goers from a spectacular mix of artists across comedy, film, dance, theatre, literature, poetry, cabaret and classical music, as well as the Latitude Contemporary Art Awards and Exhibition. Now in their third year, the Awards offer a platform to five of the contemporary art world’s most exciting artists, giving them a chance to create a piece for an exhibition set in a wooded area of Henham Park. The 2012 shortlist comprises of modern day Hannah Höch equivalent Linder Sterling; The Guardian Artist of the Week Tom Dale; Jerwood Drawing Prize 2010 shortlister George Young, 2008 MaxMara prize shortlister Lisa Peachey and Kingston University Stanley Picker Fellowship member Andy Holden. 2011 Latitude Contemporary Art Prize winner Andy Harper will also be returning with a new piece.

As the seventh edition of Latitude, the festival is also set to host music legend Bon Iver as the closing performance in the Obelisk Arena in his first major headline slot and only UK festival appearance in 2012. In addition, the BBC London Olympics theme composers, Elbow, will top the bill on Saturday, while Paul Weller will bring Latitude 2012 to a crescendo on Sunday.

Jessica Wilson

Assistant Editor Jessica Wilson is a final year student at Middlesex university in London, studying Dance Performance. She is also a Marketing and Communications Assistant at the Royal Academy of Dance (RAD).

Jessica reviews London shows for the Society of London Theatre’s initiative for 16-25 year olds, TheatreFix, writes features for A Younger Theatre and blogs for Cloud Dance Festival, with additional press responsibilities. She has completed many marketing internships, the most recent at English National Ballet.

Jessica has also previously interned for SOLT, East London Dance and the ISTD dance examination board. Jessica is a National Youth Dance Ambassador for Youth Dance England, focusing on young people’s access to dance. She is extremely passionate about opportunities for young people enabling them to succeed and hopes to continue advocating this in the future through a variety of means.

The opinions expressed here are Jessica’s alone and do not reflect the opinions of RAD.

Finis: Gotham Dance Festival

June 30, 2012 by 4dancers

by Christopher Duggan

My wife Nel and I have been filming and photographing dance for years, and we can’t seem to get enough of the dance festival experience. Festivals offer a different kind of excitement that you don’t always see during one company’s week-long run in the theater. They’re jam-packed with different dancers, styles and choreographic voices over a short amount of time. With so much happening, the festival set-up creates a huge buzz that keeps everyone excited and on their toes. It’s a fun vibe, and it seems to encourage new audiences – fresh faces that are game for seeing something new and being exposed to art they aren’t familiar with.

Behind the scenes, I get to see how that variety is created, and sometimes, I see the same dancers and choreographers on different nights with completely different programs. It shows how incredibly diverse the dance world is, how much talent exists in the field and how lucky we are as fans to have access to it all.

Gotham Dance Festival is getting better each year, and I’m always psyched to photograph the companies Producer Ken Maldonado brings to The Joyce Theater. This year, there was a one-night only celebration featuring choreography by a fantastic group of U.S.-based female choreographers to benefit Gotham Arts Exchange. The show included: BalletX performing the work of Jodie Gates, Jane Comfort & Company, Loni Landon, Camille A. Brown & Dancers, Carolyn Dorfman Dance Company, Kate Weare Company, Pam Tanowitz Dance, and a special encore by Monica Bill Barnes & Company.

The festival also included California-based BODYTRAFFIC and Gallim Dance. Nel and I first saw Gallim perform Blush at White Wave Festival in Brooklyn, and we’ve been hooked ever since. In fact, Nel and I have worked with a lot of these choreographers and dancers over the years. We are so proud to see them achieving such great success and filling The Joyce Theater, and it was really fun to share this festival experience with them.

And now I’d like to share it with you…

One Dancer’s Journey: Performing Outside the US

June 28, 2012 by Ashley David

ToddFox_OksanaStorazuk_Giselle_SerbianNationalTheatreBallet — Todd Fox & Oksana Storazuk in Giselle (Serbian National Theatre Ballet)

It’s time for the next question in our series, “One Dancer’s Journey”. Todd Fox has danced all over the world, and here he shares some of his experiences (and photos) from his travels…

by Todd Fox

6. You have danced for companies all over the world. Can you talk a bit about what that is like?

Truly unbelievable! When I was a young professional dancer just starting out I never imagined performing with a ballet company outside of the USA, not because I didn’t want to, it just didn’t seem realistic. The Internet didn’t exist back then and things were much different in regards to communication and retrieving simple information like addresses and contact info on companies you wanted to audition for abroad. You couldn’t just do a search for the company and email your resume/images/video, if you wanted to seek employment with a ballet company abroad you had to either wait for that company to host an audition here in the states, or, personally know dancers in those foreign companies who could tell you when they were auditioning in their cities, where to send resume/CV info via regular post and then somehow communicate via regular telephone.

ToddFox_RomeoandJulietPromo_PerthScotland — Todd Fox, Romeo & Juliet Promo (Perth, Scotland)

That was just crazy complicated and back then my world was New York City, all I was ever concerned with when living in New York City was the perpetual task of finding a job, any job that would allow me to dance every day. Back then within my circle of friends and peers when you said you were going to dance abroad it generally meant crossing the Hudson River.

ToddFox_ Mercutio_Death_Manx Ballet_Isle OfMan_UK — Todd Fox, Mercutio (Manx Ballet, Isle of Man, UK)

Ironically, during the first half of my career I ended up doing quite a bit of international touring with the companies and productions I danced for, I loved every minute of it and developed a great passion for traveling abroad. I began paying much more attention to what performance opportunities were available overseas and jumped at the chance to do any of them, even if the monetary value of the contract was so low that I would only break even. Then in 2001, the ballet company I worked for at the time, Cleveland San Jose Ballet, went bankrupt during its 25th year anniversary and I once again found myself suddenly unemployed. Up to that point in my professional career (12 years) I had worked for a total of 5 different ballet companies here in the states which either declared bankruptcy, ceased operations and relocated, or gone through major financial hardship forcing dancers into immediate unemployment and I was just so sick of it all. I decided to continue dancing but no longer within the structure and confines of a “home” ballet company and have since focused much of my efforts on performing seasonally and as a guest artist with companies overseas.

It has been a dream come true to use dance as a way to fuel my travels around the world in seek of new and emerging creative influences. Since I made that decision in 2001 I have been privileged to perform with ballet companies in 8 different countries spanning 4 continents. Not all have been high profile red carpet events but for me each different performance experience represents an absolute miracle in my career. Working in these foreign countries allowed me the opportunity to study and compare first hand many different cultural and ideological approaches to dance. I learned so much from each experience and as a result my own knowledge and creative perspectives on dance have broadened in ways I never could have imagined.

ToddFox_AmyLawson_StudioRehearsal_Dublin Ireland — Todd Fox & Amy Lawson (Studio Rehearsal, Dublin, Ireland)

As amazing as these opportunities were, working thousands of miles away from home for extended periods of time as an independent dance artist presents unique challenges and it’s definitely not for everyone. Trust me when I say, there is a HUGE difference between touring and performing abroad with a company of dance artists you know and trying to integrate into a company of dance artists that you don’t know for just one season or a single production. There are cultural and artistic differences to take into consideration, language barriers, and workplace politics like power struggles, labor disputes, casting disputes, partners that are difficult to work with, or choreographers who may not like you just because of what country you come from. Granted, all this can be said of dancing for just about any ballet company on the planet but when you’re a foreigner overseas the difference is that you are not at home and at the end of the day when you go back to the hotel or whatever housing you are living out of a suitcase in you eventually start to crave “home”. For me it took about 7 years of performing and traveling abroad before I started spending more and more time at home and less time flying all over the world to perform. Everything runs its course and for the rest of my life I will always cherish the amazing opportunities and life altering artistic experiences I was exposed to while performing independently abroad.

[Read more…]

Finding Balance: Artistic Exhange & Trust

June 25, 2012 by 4dancers

by Emily Kate Long

Lately I’ve become increasingly aware of—and increasingly excited by—how much hard science goes into this esoteric and ephemeral art form. The study of technique is, at its roots, a study of kinesiology: physics applied to the human body. Broadening the scientific scope a bit, the emotional, intellectual, and sensory exchanges that happen in the studio and onstage are roughly analogous to biological mutualism. This installment of “Finding Balance” is a look at the fine balance between needs and gifts of the participants in artistic exchange and the trust that’s required to achieve equilibrium—the balance of science with something greater and less measurable.

In biology, mutualistic relationships are categorized as obligative (the relationship is necessary for the survival of one or both participants) or facultative (useful but nonessential for one or both participants). Additionally, the interaction can be described in terms of what is being exchanged between parties: services, resources, or both.

Often the focus is on the relationship between performers and audience, but there are a lot of other players here. Teachers, directors, choreographers, musicians, production staff, and stage crew all make necessary contributions to the presentation of the artistic product, and each derives benefit from the process and the product. The right balance of mutualistic relationships in nature encourages the success of ecosystems. The right balance in professional dance is necessary for the survival and advancement of our art form.

Dancers require opportunities to hone our craft, opportunities to share our art, and individuals or ideas from which to draw inspiration. Classes and rehearsals offer opportunities to perfect movements, and for those things, dancers need a facilitator—a teacher, director, choreographer, or stager. Sharing our art can’t happen without another party present; that’s where the audience comes in. Dancers draw inspiration from a multitude of sources: the audience, the facilitator, the dance itself, the music, fellow dancers, emotions, and past life experiences. Our relationship to all of these things is largely obligative—we cannot intuit technique or dance exclusively by instinct. We cannot be our sole source of motivation and we definitely can’t watch ourselves from across the footlights.

The primary need (arguably, the exclusive need) of the audience is an exceptional sensory and emotional experience, which is delivered directly by the performers, choreographer, musicians, and designers. Of course, this delivery would be impossible without the work of directors, coaches, and crew as well. The audience’s relationship to the performers and facilitators is ambiguous in terms of being essential or simply beneficial—certainly, society at large benefits from art, but only individual audience members (and sometimes not even they) know whether they need to engage in a relationship with dance. [Read more…]

Music Notes: Opus 1

June 22, 2012 by 4dancers

by Allan Greene

The first thing is, something always has to be moved. The piano, the seat, where to put the tea to keep from knocking it over, do I need to see this teacher’s feet or can I rely on her cadence… A quick look around the studio to see if there are any interesting visitors, if any regulars are missing. Once I know who my audience is, I can think about how to break the aural dryness. Often the choice is like a steakhouse menu, steak or non-steak, or, in this case, Chopin or non-Chopin. This presupposes, of course, that the teacher doesn’t decide to lead off with foot warm-ups or something. I almost always react to avant-pliés non-Classically. If a teacher wants to start a class Pawn-to-Queen’s-Knight-4, I feel it’s my duty to let the students know they’re no longer in Kansas. But it’s just going to be pliés, and pliés music must be a satin blanket that can never crease. Can the students handle drama, or will it have to be Bel Canto? Let’s try drama. Can they handle humor, or surprise? If they’re disciplined enough, I can really have fun with them. Let’s save that for the second side, after I’ve relaxed them. Okay, it’ll be a Chopin nocturne, no, a Liszt Consolation, no the Goldberg Variations aria, no, we’re about to begin, CHOOSE! “Préparation…” Hands on keys, oh, I’m playing D-flat arpeggios, Opus 9 No.1, D-flat Consolation, Berceuse, need a melody: an E-flat! It’s a V9 chord in G-flat major, and yes! the Schubert G-flat Impromptu, and we’re off! Second side, can we integrate the Well-Tempered Clavier into this? It should work.

I can’t speak for any other dance accompanist, so don’t draw any conclusions. But the above is precisely the way I think from the moment I walk into the dance studio through to the end of the class. It’s a 90-minute interior monologue interrupted by commands to start and stop, repeat, change the tempo, change the music, play more, play less. I have to make the whole thing sound improvised, yet intentional. It’s my job to reinforce whatever the teacher is teaching that day, never step on his message. Ninety-nine percent of the time I don’t want to draw attention to myself, even if the effect I choose is a Lisztian ocean of sound. Sometimes my choice doesn’t come off, sometimes I switch in mid-combination, or even in mid-phrase. But almost always, the result, after ninety minutes, is an artistic workout, the satisfaction of structural completeness, and the heightened sensitivity that serves as the emotional foundation for dance artistry. Or so I like to think.

Consider this column as my préparation for my future commentary on the relationship between dance and music. Some of my pieces will unlock the magic of great ballet choreography, looking at the symbiosis between the steps and the music. (Shall we tackle Swan Lake?) Some will cover my experiences working with the famous and the not-so-famous. (Interested in what it was like working with Agnes de Mille after her stroke?) We will undoubtedly get into the gnarly but indispensable subject of synesthesia, the study of how some peoples’ brains vividly cross-process sensory information. (I have arrived at the conviction that the truly great artists were all wired this way to varying degrees.) We might mix in a music lesson here and there. (Ever wonder what the significance is of the difference between 4/4 and 2/4?)

I can’t wait to share with you a few of those thoughts that rattle around in my mind, like dancers awaiting the curtain’s opening, for that Pavlovian word, “And…”

BIO: Allan Greene has been a dancers’ musician for nearly forty years. He is a composer, pianist, teacher, conductor, music director, father to Oliver, 9, and Ravi, 6, and husband to Juliana Boehm. He has also been an architect, an editor, a writer and a boiler mechanic. He lives and works in New York City. His ballet class music can be found on www.BalletClassTunes.com.

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