Ohad Naharin – Page 2

Finis: Photographing Alvin Ailey’s Gala

November 30, 2012 by 4dancers

by Christopher Duggan

Alvin Ailey American Dance Theater hosts gorgeous and energetic galas at New York City Center every year. Photographing the Gala means capturing exciting moments on stage as well as the many smiling guests. Mo’Nique was the honorary chair this year, and I caught New York Times photographer (and my hero) Bill Cunningham talking with Ailey dancers.

Robert Battle and Mo'nique — Mo’Nique and Robert Battle

bill cunningham — NY Times Photographer Bill Cunningham With Dancers From Alvin Ailey

This season, the always-incredible dancers performed Ohad Naharin’s Minus 16, pulling audience members on stage — and the crowd went wild for the honorary dancers!

It was one of Renee Robinson’s last performances with the Alvin Ailey company. She carried her signature umbrella in the world-famous Revelations. The score for the work was sung live by Jessye Norman, Anika Noni Rose, and Brian Stokes Mitchell.

renee robinson dances revelations — Renee Robinson in Revelations

Christopher Duggan bio — Christopher Duggan, Photo by Julia Newman

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter + Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings. The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Hubbard Street’s Summer Series – Complex and Sublime

June 1, 2012 by 4dancers

by Catherine L. Tully

After a strong spring program, expectations ran high for Hubbard Street Dance Chicago’s Summer Series at the Harris Theater. The line-up features three pieces—an unusual collection of choreography that takes the audience on a journey that they are certain to remember for a long time to come.

Choreographed by Alejandro Cerrudo, “Malditos” was originally a collaborative effort between Hubbard Street and Nederlands Dans Theater. Set to music from the film, The Beat My Heart Skipped (composed by Alexandre Desplat), one of the most striking features of this piece is the lighting design by Tom Visser. At times it barely illuminates the dancers—the visual equivalent of a whisper, making the viewer almost lean forward in their seat to watch the movement. Indeed, nothing about Cerrudo’s choreography shouts; it’s not showy even when it’s infused with energy. Instead it melts and dissolves through space, much like the dancers that come and go seemingly out of nowhere from the back of the stage.

Featured next is William Forsythe’s “Quintett” – and Hubbard Street has the honor of being the first American company to perform this work, first created in 1993. Set to U.K. composer Gavin Bryars’ composition “Jesus’ Blood Never Failed Me Yet”, it opens with five dancers, a stark white set–and a palpable feeling of discomfort.

HS12530_169 — Hubbard Street Dancers Penny Saunders and Jesse Bechard. Photo by Cheryl Mann.

In an unapologetic fashion, the audience is quickly pulled into this private, intimate setting. Dancers offer brief moments of tenderness, surrounded by explosive, sometimes unsettling sequences of movement. “Quintett” isn’t a passive piece where the audience gazes upon the dancers as they entertain. In fact, giving in to the uncomfortable feelings generated by the droning loop of the soundtrack and the unexpected movement patterns is almost a requirement if any sense of connection is to be found within the piece. This acceptance doesn’t come easily, but with it “Quintett” begins to transform, rewarding the viewer for the struggle.

“THREE TO MAX” is the final piece, originally created for Hubbard Street as a collage of Ohad Naharin’s works over the last decade. From the sensual hip circles seven women perform from a seated position on the floor to the “snapshot” movements that pulse out from a counted vocal rhythm, this is a piece that truly lets the company shine. Jeans, t-shirts and tank tops outfit the dancers in simplicity as they perform movements that range from clock-like ticking of the limbs (complete with vocals) to arabesques with arms that float skyward like a long swath of ribbon suspended in the air.

HSD110310_106 — Hubbard Street Dancer Robyn Mineko Williams in Ohad Naharin’s THREE TO MAX. Photo by Todd Rosenberg

Although the collection of his works here are each quite different they are blended together well, and selecting “THREE TO MAX” as the final piece is a fitting end to a wonderfully executed program. Chicago should be proud—there’s nothing quite like Hubbard Street—and this is a program to prove it.

Hubbard Street Dance Chicago is at the Harris Theater through June 3^rd, which will also be Robyn Mineko Williams’ final performance after 12 years with the company.

10 Questions With…Winifred Haun

March 2, 2011 by 4dancers

Today we have Winifred Haun with us for our feature…

1. How did you become involved in dance?

When I was 5 years old, I attended a little private school on Chicago’s north side. As an alternative to gym, they offered ballet classes on Fridays to the girls. I loved it, and sort of knew then that I would be a dancer for the rest of my life. When I was 10 years old, I started taking classes at the Ellis-DuBoulay School of Ballet. I think I received the best possible training in the city. Mr. and Mrs. ‘E’ trained not only our bodies but our minds. A lot of really successful Chicago dancers trained with them (Lou Conte is probably their most famous student). I also credit Harriet Ross for teaching me everything I know about modern technique. She also taught me how to perform and she and Randy Duncan encouraged me to choreograph.

2. What are you currently doing in the field?

I have my own dance company, Winifred Haun & Dancers. I started it in 1991 because I wanted to put together a group of artists who could help me create my work. My latest work, “Bento,” premieres March 17 & 18 at Hamlin Park Theater. I also teach modern dance at Hubbard St. Dance Center, and at Legere Dance Center in River Forest.

3. Can you share a special moment from your career?

One my favorite moments was when, as a member of the Joseph Holmes Dance Theater I first performed “Love Not Me,” choreographed by Randy Duncan, at the New Regal Theater in 1989. I had actually performed it a few times on tour, so it was really rehearsed. Despite all the preparation (I had great coaching from Harriet Ross), I felt terrible right after my performance, but I had a really quick costume change, so I didn’t have time to cry. After the show was over, the response and quick congratulations from Randy, Harriet, and my fellow dancers was so wonderful and so positive, that I still didn’t have time to cry or really be upset!

4. What advice would you offer other dancers?

Don’t worry about what others are doing or who’s getting what parts or into what company. Concentrate on yourself and make yourself into the best possible dancer you can. Take class as often as possible, listen to your teachers. Audition and then perform work for anybody who wants you. You never what will lead to what.

: “Bento” by Winifred Haun

5. What have you had to struggle against in dance?

As a dancer, I always felt that being tall (I’m 5’ 9”) was a challenge. Most of the lead roles go to women who are shorter (they’re easier to partner). As a choreographer, just being a woman in a field where the top jobs are all held by men is a challenge. Women just don’t get the recognition for their work that men do. (I think women in all careers probably struggle with this…) Which is kind of ironic, given that the field is about 80% women.

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out?

One of my all time favorite dancers is Claire Bataille. I loved her stage presence and her control of her technique. Watching her in class, in rehearsal, and on stage was inspiring. My favorite choreographers are: Merce Cunningham, Trisha Brown, Ohad Naharin, Eiko & Komo, William Forsythe, Randy Duncan, and Mark Morris. I love the risks that these artists take and how alive and individual they are. In my latest work, Bento, I honor some of these choreographers by purposely imitating their choreography. (Some have even “donated” 32 counts.)

As for young, local choreographers, my favorites are Jackie Stewart and Jessica Miller Tomlinson. I’m sharing a concert with them in March 2012 at the Ruth Page Center. (We just received a MetLife New Stages for Dance grant for this project!) I saw a concert that Jackie and Jessica shared a concert last year and it was amazing.

7. What is the best advice you have ever received regarding dance?

Hold your stomach in and move from your center. And don’t take yourself too seriously. Those are good life skills also!

8. Where do you think dance is going as an art form?

I think choreographically dance is moving away from ballet. In her amazing book “Apollo’s Angels,” Jennifer Homans, says that ballet is a dying art form, and I reluctantly agree with her. No one is moving the form forward and without constant re-invention, it will eventually not be an art. Ballet will always be a great technique with lots to offer any dancer who studies it. But, as an art form, dance is moving away from ballet. (Lots of my friends, teachers and colleagues will heartily disagree with me. To them I say, let’s have coffee and talk about it 🙂 )

I also think we are living in a great time for dance. I think more than ever are aware of dance as an art form. We have the current dance TV shows and the internet to thank for that!9. What is it about dance that you love so much?

I don’t know what it is but, I love watching dance, whether its a class, rehearsal, performance, or even my kids’ recitals. I love taking class, teaching class or coaching. I love all forms of dance: ballet, modern, jazz, tap, hip-hop, ballroom, etc. And I love making dances. Many times I have tried to live without making dances (my life would so much easier if I wasn’t a choreographer…). I’ve formally “quit” the dance field twice only to return for reasons I can’t quite articulate. I guess, for me, dance is kind of a calling. I feel like ideas for dances “seize” me and won’t let go. Its like I can’t not make dances. And I feel the most alive when I’m choreographing.

10. What is next for you?

Saturday, March 12 Winifred Haun & Dancers is performing at the Regional Alternative Dance Festival in Kalamazoo, MI. On Thursday and Friday, March 17 & 18, we’re premiering Bento in program of 6 works at the Hamlin Park Theater.

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