william forsythe

The USC Glorya Kaufman International Dance Center Opens

October 6, 2016 by 4dancers

chandelier-from-below-by-justina-gaddy — *Inside the USC Glorya Kaufman International Dance Center. Chandelier, from below. Photo by Justina Gaddy.*

by Catherine L. Tully

This project has been no small undertaking. Over 200K Roman bricks. 39 different types of light fixtures. High definition video projectors. Retractable seating for 140. State-of-the-art floors and subfloors. There’s nothing quite like a space that is built specifically for dance…

Glorya Kaufman Dance Center — *USC Glorya Kaufman International Dance Center, exterior. Photo by Justina Gaddy.*

Standing 70 feet tall and offering over 54,000 square feet of space, the USC Glorya Kaufman International Dance Center is a brand new building on campus, and the first new school to be built at the University of Southern California in nearly 40 years. Founded in 2012 by a gift from dance philanthropist Glorya Kaufman, this building took more than 1,000 workers approximately 238,650 hours to construct. It features a Performance Studio along with five other dance studios, a collaborative space, and a training and fitness zone for students. There are also dressing rooms, classrooms and offices for faculty and administrators in the building.

*USC Glorya Kaufman International Dance Center studio. Photo by by Celine Kiner.*

A great deal of thought was put into the use of this building as a dance space, besides the standard attention to items such as dance-specific flooring and quality sound systems. For example, the main hallway was actually designed as the outline of a dancer’s leg, and the courtyard that is adjacent to the main entrance will also double as an outdoor performance space. Over a year of research went into the planning and design of this building, which will now serve as a “palace for dance,” as Dean Cutietta refers to it.

In addition to its role in the USC curriculum, the Kaufman Dance Center will host master classes and visiting companies that will offer programming to both students and the area dance community. The Center will also serve as the home of a new initiative, the USC Choreographic Institute. With a focus on choroegraphic research, practice and mentorship, it will be advised by the well-known choreographer William Forsythe.

For additional information on the Glorya Kaufman International Dance center, please visit their website.

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All Is Possible: Hubbard Street’s Summer Series

June 7, 2014 by 4dancers

Hubbard Street Dancers in The Impossible by Resident Choreographer Alejandro Cerrudo, from left: Jessica Tong, Ana Lopez, Jonathan Fredrickson and Andrew Murdock. Photo by Todd Rosenberg — Hubbard Street Dancers in The Impossible by Resident Choreographer Alejandro Cerrudo,
from left: Jessica Tong, Ana Lopez, Jonathan Fredrickson and Andrew Murdock. Photo by Todd Rosenberg

by Catherine L. Tully

Hubbard Street Dance Chicago brought together three impeccably danced pieces at the Harris Theater Thursday night–one of which was resident choreographer Alejandro Cerrudo’s world premiere, “The Impossible”.

Starting out with a dramatic puff of cigar smoke and a single red candle, the audience first meets devilish Johnny McMillan, who is a shadowy figure and a force of evil throughout. Later he will be joined by a strong cadre of five other men who command the stage and careen through steps with both power and precision.

In the interim, a stooped old couple dances with little verve but much tenderness, draping themselves over one another and moving ever so gingerly. Soon they are joined by a younger couple (earlier versions of themselves?) and all four then dance together, offering both a reminder of what has been lost over time and a spark of joy for what is still left of love.

Ana Lopez and Jonathan Fredrickson capture the very essence of old age without being too literal. The choreography has the other couple helping them dance, gently lifting arms and moving limbs. It’s at once ghostly, sweet and sorrowful.

Branimira Ivanova’s costume design is subtle with just a few pops of color, such as the red socks and suspenders for McMillan’s costume–the perfect hint of drama. And the music, although by a variety of different artists, comes together seamlessly to help solidify the overall vision.

Cerrudo’s ability to tug at the heartstrings while merely hinting at a wisp of a storyline is phenomenal. Many of his hallmarks are here–slow motion movement, a simple, yet theatrical set, and the intense lighting design by Michael Korsch–yet, he offers some new possibilities through this choreography. The only small flaw in this new work of his is that it didn’t last quite long enough to see them all through.

Hubbard Street Dance Chicago in Gnawa by Nacho Duato. Photo by Todd Rosenberg — Hubbard Street Dance Chicago in Gnawa
by Nacho Duato. Photo by Todd Rosenberg

“Gnawa” opens the program with Nacho Duato’s stunningly musical choreography. Dancers place candles at the edge of the stage and move through the piece effortlessly, making a multitude of marvelous shapes as they go. The strength and control of the dancers is evident here as they make each movement appear completely natural–no matter how difficult. It’s easy to see that when Duato made this piece for them in 2005 he was intent on showcasing the abilities of the company. And showcase them it does.

Hubbard Street Dancers David Schultz, foreground, and Kevin J. Shannon in Quintett by William Forsythe. Photo by Todd Rosenberg — Hubbard Street Dancers David Schultz, foreground, and Kevin J. Shannon in
Quintett by William Forsythe. Photo by Todd Rosenberg

Forsythe’s “Quintett” puts forth both vitality and vulnerability as the dancers whirl through its tortuous choreography, set to composer Gavin Bryars’ composition “Jesus’ Blood Never Failed Me Yet”. Although this piece was only recently debuted by the company (2012), it is clear that it is well-suited to their skills. The sometimes graceful, other times erratic movements in the choreography are performed with aplomb by all five of the dancers–and this is by no means an easy task.

The stark set includes a projector which remains idle until the final minutes of the piece. It comes to life suddenly, throwing imagery against the white backdrop, but the focus is quickly torn away by the intensity of the lovely Ana Lopes who continues dancing with a sense of reckless abandon as the curtain lowers.

Hubbard Street performs at the Harris Theater through June 8th.

Helen Pickett: Atlanta Ballet’s New Resident Choreographer

November 19, 2012 by 4dancers

Helen Pickett started dancing at the age of eight after her mother called in and won tickets to see Nutcracker in a contest on the radio. Now, she will be taking on the title of resident choreographer at Atlanta Ballet–a three-year commitment that includes new works and an annual workshop. In-between, her life has been quite a journey.

Helen performed with William Forsythe’s Ballett Frankfurt for more than a decade and she has choreographed for companies such as Boston Ballet, Ballet X, Ballet West, Dance Theatre of Harlem and Smuin Ballet. These are just a few of the accomplishments she has garnered over the course of her career thus far.

4dancers.org asked Helen some questions via e-mail to learn more about her background and what her thoughts are in terms of signing on with Atlanta Ballet…

What is your background in dance?

At 14 started training with San Francisco Ballet School. At 19, I met William Forsythe while he was creating New Sleep for SFB. I flew to Frankfurt to see the company and take class. I started Ballett Frankfurt the next season. I moved to NYC in 1999 to start acting with the theater company, Wooster Group, director, Elizabeth LeCompte. Also in 1999, I started teaching at The Ailey School, under the direction of Denise Jefferson.

How did your dance career wind up evolving into choreography?

In 2005 I received a call from Mikko Nissinen, director at Boston Ballet, asking me if I would like to choreograph for the company. I said yes. The wind up was urgent. Meaning I knew I must say yes now. Prior to this call, I had choreographed solos for students at The Ailey School, Purchase College and Julliard. I need to be in a dance studio.

Did your time with William Forsythe have an impact on your choreographic style? Why or why not?

Bill sees/saw/will always see possibility in life. Tapping into one’s curiosity creates possibility. Forsythe and many others, inside and outside of dance, have influenced my lifestyle. The sum of our lives impacts all decisions we come to.

How would you describe your style and process? [Read more…]

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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