The Emory Dance Company's fall concert, "Muscle Memory," featuring choreography by faculty of the Emory Dance Program, starts tonight! All of the concert pieces involve the theme of memory and are performed by Emory students. Ticket proceeds from the Saturday night performance will benefit the Sally A. Radell Friends of Dance Scholarship Fund.
Performances are:
Thursday, Nov. 19, 8:00pm
Friday, Nov. 20, 8:00pm
Sat. Nov. 21, 2:00pm and 8:00pm
For tickets, call the Arts at Emory Box Office at 404-727-5050.
Thursday, November 19, 2009
Wednesday, November 18, 2009
Holland Dance Festival
Professor of Dance Sally Radell had the opportunity to attend the Holland Dance Festival, which took place October 28-November 15 in The Hague, Netherlands. She shares some of her thoughts below.
I just returned from ten days in Holland where I attended several events at the Holland Dance Festival. This festival is the largest biennial dance festival in the Netherlands and included over 60 performances, one hundred workshops, and a dance parade with over 1200 dancers. The focus of this festival was a 50-year celebration of the Netherlands Dance Theater.
Of the several events I attended, by far the most powerful was the opening performance of the Netherlands Dance Theater performance on October 29. It was held in the Lucent Dance Theater, a stunning larger theater that was built and equipped for large dance events. As I approached the theater, I knew I was in for something special, as I viewed several dancers attached with ropes to the top of the building performing outside. They were dramatically illuminated and some were perched on stilt type walking devices that distorted their movement in a very compelling way. Their movements were somewhat agitated, yet smooth, slow and focused. It was mesmerizing.
The program consisted of three new premieres by Jiri Kylian, the English/Spanish duo of Paul Lightfoot and Sol Leon, and Swedish born Johan Inger. All three works had interactive sets and some degree of audiovisual effects which were seamlessly woven into the works. The dancers in all the pieces were of course superb technicians and all the choreography was some of the strongest I have seen. (Note: The Netherlands Dance Theater website currently has a video clip of Jyri Kylian's piece playing on the home page.)
Jiri Kylian has been a major artistic force in the Netherlands Dance Theater for years. His work “Memoires D’Oubliettes” was set to an original score by Dirk Haubrich, used impressionistic black and white film projections, and involved a forest- like elastic banded border around the stage. The dancers hurled, slithered and catapulted themselves in and out of this fabric with focused and sinuous energy. What was most striking about this work was the intuitive, kinetic logic that evolved seamlessly in the choreography as the piece transitioned into new sections that flowed with grace and ease. It was easy to get totally involved with this work; in fact, the choreographic intelligence totally drew me in.
The second piece by Lightfoot/Leo, “Studio 2,” was set to a score by Arvo Part. It involved a ramp where dancers seemed to rise while appearing like they were floating and a large mirror that was raised, lowered, and tilted with different relationships to the floor as the dancers moved around it. There were some particularly striking moments where the reflections in the mirror created apparitions of multiple dancers moving at odd angles. It was an in-depth look at the use of the mirror and levels of movement in dance class, but of course it took it all so much farther in abstraction than one could logically imagine.
The last work, “Dissolve in This,” by Inger involved circular lights on the stage that moved throughout the performance and a floor entirely covered in layers of torn up rubber that looked like grey snow. The bounciness and erratic qualities of the floor covering were reflected in the random and quick qualities of the movement gestures as the dancers darted around the stage with full abandon. The piece gradually accumulated throughout with larger and larger groups of dancers performing bigger phrases that covered an increasingly larger amount of space. The choreographically evolved masterfully and captured my total attention and fascination throughout the entirety of the forty minute work.
I just returned from ten days in Holland where I attended several events at the Holland Dance Festival. This festival is the largest biennial dance festival in the Netherlands and included over 60 performances, one hundred workshops, and a dance parade with over 1200 dancers. The focus of this festival was a 50-year celebration of the Netherlands Dance Theater.
Of the several events I attended, by far the most powerful was the opening performance of the Netherlands Dance Theater performance on October 29. It was held in the Lucent Dance Theater, a stunning larger theater that was built and equipped for large dance events. As I approached the theater, I knew I was in for something special, as I viewed several dancers attached with ropes to the top of the building performing outside. They were dramatically illuminated and some were perched on stilt type walking devices that distorted their movement in a very compelling way. Their movements were somewhat agitated, yet smooth, slow and focused. It was mesmerizing.
The program consisted of three new premieres by Jiri Kylian, the English/Spanish duo of Paul Lightfoot and Sol Leon, and Swedish born Johan Inger. All three works had interactive sets and some degree of audiovisual effects which were seamlessly woven into the works. The dancers in all the pieces were of course superb technicians and all the choreography was some of the strongest I have seen. (Note: The Netherlands Dance Theater website currently has a video clip of Jyri Kylian's piece playing on the home page.)
Jiri Kylian has been a major artistic force in the Netherlands Dance Theater for years. His work “Memoires D’Oubliettes” was set to an original score by Dirk Haubrich, used impressionistic black and white film projections, and involved a forest- like elastic banded border around the stage. The dancers hurled, slithered and catapulted themselves in and out of this fabric with focused and sinuous energy. What was most striking about this work was the intuitive, kinetic logic that evolved seamlessly in the choreography as the piece transitioned into new sections that flowed with grace and ease. It was easy to get totally involved with this work; in fact, the choreographic intelligence totally drew me in.
The second piece by Lightfoot/Leo, “Studio 2,” was set to a score by Arvo Part. It involved a ramp where dancers seemed to rise while appearing like they were floating and a large mirror that was raised, lowered, and tilted with different relationships to the floor as the dancers moved around it. There were some particularly striking moments where the reflections in the mirror created apparitions of multiple dancers moving at odd angles. It was an in-depth look at the use of the mirror and levels of movement in dance class, but of course it took it all so much farther in abstraction than one could logically imagine.
The last work, “Dissolve in This,” by Inger involved circular lights on the stage that moved throughout the performance and a floor entirely covered in layers of torn up rubber that looked like grey snow. The bounciness and erratic qualities of the floor covering were reflected in the random and quick qualities of the movement gestures as the dancers darted around the stage with full abandon. The piece gradually accumulated throughout with larger and larger groups of dancers performing bigger phrases that covered an increasingly larger amount of space. The choreographically evolved masterfully and captured my total attention and fascination throughout the entirety of the forty minute work.
Thursday, November 12, 2009
Thoughts on Collaboration
Kendall Simpson, Music Coordinator for the Emory Dance Program, is working with two dance faculty members, Lori Teague, and Sally Radell, to create music for their pieces for the upcoming Emory Dance Company concert, Muscle Memory, November 19-21, 2009. For more information about the concert, please see: www.dance.emory.edu/events. Kendall's thoughts on collaboration follow.......
No two collaborations are alike; they are invariably unique. The creative destination may be known to all involved, but the method of travel can be wildly divergent. As a composer for the Emory Dance program, I have journeyed many routes in creating music for dance. Some choreographers work out the complete movement before the music is ever composed while others like to create around a set piece. Some find the middle ground by letting both music and movement set the work.
To keep my head on straight, I embrace it all, allowing the challenges in collaboration to push me as an artist. Care and trust are important, for we artists are on tender ground throughout the process. I am so fortunate to work with such thoughtful individuals as faculty members Greg Catellier, Anna Leo, Lori Teague, George Staib, Sally Radell and Tara Shepard Myers. They are all so different in their methods but so similar in the support and respect they give to me and fellow composers like Klimchak.
Now that I think about it, working with someone is my preference. I like to have a partner when I dance.
No two collaborations are alike; they are invariably unique. The creative destination may be known to all involved, but the method of travel can be wildly divergent. As a composer for the Emory Dance program, I have journeyed many routes in creating music for dance. Some choreographers work out the complete movement before the music is ever composed while others like to create around a set piece. Some find the middle ground by letting both music and movement set the work.
To keep my head on straight, I embrace it all, allowing the challenges in collaboration to push me as an artist. Care and trust are important, for we artists are on tender ground throughout the process. I am so fortunate to work with such thoughtful individuals as faculty members Greg Catellier, Anna Leo, Lori Teague, George Staib, Sally Radell and Tara Shepard Myers. They are all so different in their methods but so similar in the support and respect they give to me and fellow composers like Klimchak.
Now that I think about it, working with someone is my preference. I like to have a partner when I dance.
Thursday, November 5, 2009
Local Atlanta Blogs of Interest
Check out these two local blogs.........
Atlanta Dances, a community dance blog about the dance scene in Atlanta, started by Claire Horn of Several Dancers Core. The sidebar of the blog has a helpful list of links to Atlanta dance companies, dance classes, and university dance programs.
ArtsCriticsAtl.com covers the Atlanta arts scene with reviews and news. It features several writers, each covering an area of the arts. Several of the contributors were formerly arts critics for the Atlanta Journal Constitution. The site lets you choose posts by discipline, or you can browse through all of them.
Atlanta Dances, a community dance blog about the dance scene in Atlanta, started by Claire Horn of Several Dancers Core. The sidebar of the blog has a helpful list of links to Atlanta dance companies, dance classes, and university dance programs.
ArtsCriticsAtl.com covers the Atlanta arts scene with reviews and news. It features several writers, each covering an area of the arts. Several of the contributors were formerly arts critics for the Atlanta Journal Constitution. The site lets you choose posts by discipline, or you can browse through all of them.
Friday, October 30, 2009
Dance Truck at Le Flash Festival
Images above (l to r): Allie Bruehlman, Kaitlyn Pados, Sophie Slesinger performing in the Dance Truck during the Le Flash Festival.
On the evening of October 1, Atlanta's Castleberry Hill neighborhood was host to the second annual Le Flash Festival. I had the opportunity to choreograph for the festival's Dance Truck project, the brainchild of lighting designer Malina Rodriguez. Malina's idea was to bring dance into a public, urban environment by renting a twenty-six-foot Ryder box truck and presenting different choreographers' work made specifically for that space. Sophie Slesinger (class of '09), Kaitlyn Pados (senior dance major), and I performed in a piece I entitled "Primary Cares." The piece dealt with the implications of moving within the truck's spatial confines. We investigated how the space affected not only our individual movement but also our physical and emotional interactions and how such close spatial boundaries are analogous to our personal boundaries as well. Though in many ways I wish I could revisit and improve upon the material I presented, I am still very happy to have been a part of the proejct. The performance experience was unlike any other I have had before, and I am truly grateful to have participated in such a unique event.
Photos by Lori Teague
Tuesday, October 27, 2009
Art and Science: Evolution or Inspiration?
This post was written by Emory Vice President Rosemary Magee, who moderated "Where Dance and Science Meet: A Creativity Conversation," which was held on October 15, 2009. For more information about Emory's Creativity Conversations, please click here.
Art and Science: Evolution or Inspiration? What is the role of the imagination in our work as scholars and researchers as well as artists? How can the University help to develop the imagination for individuals as well as the community?
These are some of the questions pursued in the discussion with New York-based choreographer David Neumann, Emory Chemistry Department Chair David Lynn, and myself.
What struck me were the commonalities in the process of discovery. These shared approaches included the importance of special tools, the centrality of collaboration, and the focus on process. What pleased me was how engaged the audience became--especially students who are double-majoring in art and science disciplines--in helping us think about the tensions as well as the commonalities.
If evolution is one of the dominant paradigms of our time, then both science and art are essential for discovering its meaning and implications. This conversation was an exploration of these ideas.
Photos by Lori Teague.
Wednesday, October 21, 2009
Q&A with Dance Alumna Ellen Lyle
Recent Emory dance alumna Ellen Lyle is preparing to present a new site-specific piece at a labyrinth Emory Presbyterian Church (see below for more information about the performance). We asked her a few questions about her experience at Emory, her current work, and future plans.
What have you been doing since graduating in May?
This summer I studied at the American Dance Festival, thanks to the Emory Friends of Dance. I took three classes most days in modern technique and composition (with Jesse Zaritt) and hiphop (with LaShawn Jones and HeJin Jang) as well as anusara yoga a few days a week. I also had the opportunity to create and present the beginnings of a new work in the ADF Student Concert and receive feedback from students and working professionals.
Currently I am in Atlanta working independently as a choreographer. I am collaborating with a number of Emory students and alumni as a part of a new arts collective, ellen lyle / open collision dance, which will be presenting work for the first time this weekend.
I am also working at the Atlanta Ballet and the Woodruff Arts Center and teaching ballet and young children's classes.
What are your future plans in dance?
I plan to continue creating new work; that I know for sure. Beyond that, I am letting things take me where they will. I am still figuring out what role I want dance to play in my life, but I will likely continue to choreograph and perform as long as I am able.
How did your education at Emory help prepare you for a career in dance?
My education at Emory gave me room to explore the field of dance both independently and under the guidance of its supportive faculty. The Dance Program helped me to think creatively and openly about the purpose of dance, as art, service, commentary or whatever its role may be. My education as a whole at Emory strengthened my critical mind and broadened my knowledge and awareness in a number of fields that play a vital role in the work I create.
How did you get the idea for a site specific dance at a labyrinth? Would you like to share anything else about the development of this piece?
I began attending Emory Presbyterian, where the labyrinth with which we are working is located, my freshman year at Emory. Over the past few years I've seen and visited a number of different prayer labyrinths, and I've been intrigued by their use and how people view them. Many people think of a labyrinth as being a maze—with dead ends and many different paths—something that is confusing. A prayer labyrinth, however, has only one path. There are no tricks to finding your way through. You begin at the outside, and work your way to the center, as a means of centering, meditating, or connecting with God. The path is a journey, spiritual or otherwise.
From an aesthetic point of view, the labyrinth is a very interesting space to work with—offering a circular foundation, with designs laid out in its path and with a central focus. The stones offer a unique, grounding texture. For me, working and performing in this space is a means of looking at what it means to be on a journey, to walk through life and accumulate new experiences, create memories, and leave marks along the way. To alter the journey for the future. The movement of these dancers in unison or in harmony in this space create for me a sense of travelling, sustaining community.
What have you been doing since graduating in May?
This summer I studied at the American Dance Festival, thanks to the Emory Friends of Dance. I took three classes most days in modern technique and composition (with Jesse Zaritt) and hiphop (with LaShawn Jones and HeJin Jang) as well as anusara yoga a few days a week. I also had the opportunity to create and present the beginnings of a new work in the ADF Student Concert and receive feedback from students and working professionals.
Currently I am in Atlanta working independently as a choreographer. I am collaborating with a number of Emory students and alumni as a part of a new arts collective, ellen lyle / open collision dance, which will be presenting work for the first time this weekend.
I am also working at the Atlanta Ballet and the Woodruff Arts Center and teaching ballet and young children's classes.
What are your future plans in dance?
I plan to continue creating new work; that I know for sure. Beyond that, I am letting things take me where they will. I am still figuring out what role I want dance to play in my life, but I will likely continue to choreograph and perform as long as I am able.
How did your education at Emory help prepare you for a career in dance?
My education at Emory gave me room to explore the field of dance both independently and under the guidance of its supportive faculty. The Dance Program helped me to think creatively and openly about the purpose of dance, as art, service, commentary or whatever its role may be. My education as a whole at Emory strengthened my critical mind and broadened my knowledge and awareness in a number of fields that play a vital role in the work I create.
How did you get the idea for a site specific dance at a labyrinth? Would you like to share anything else about the development of this piece?
I began attending Emory Presbyterian, where the labyrinth with which we are working is located, my freshman year at Emory. Over the past few years I've seen and visited a number of different prayer labyrinths, and I've been intrigued by their use and how people view them. Many people think of a labyrinth as being a maze—with dead ends and many different paths—something that is confusing. A prayer labyrinth, however, has only one path. There are no tricks to finding your way through. You begin at the outside, and work your way to the center, as a means of centering, meditating, or connecting with God. The path is a journey, spiritual or otherwise.
From an aesthetic point of view, the labyrinth is a very interesting space to work with—offering a circular foundation, with designs laid out in its path and with a central focus. The stones offer a unique, grounding texture. For me, working and performing in this space is a means of looking at what it means to be on a journey, to walk through life and accumulate new experiences, create memories, and leave marks along the way. To alter the journey for the future. The movement of these dancers in unison or in harmony in this space create for me a sense of travelling, sustaining community.
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