Crashing through the membrane: I still remember the first intimate ballet showing I was privileged to see, in Joffrey Ballet co-founder Gerald Arpino’s no-frills basement studio near the Church Street Safeway in San Francisco. The intake and exhalation of breath, the contours of the leg muscles and the grasping of hands right in front of you; there’s nothing like it for appreciating the hard work and honesty that goes into dances rigorously created and earnestly performed. Even moreso when the choreography is built around connections: of partners, of circles (evoking the primordial dances around a fire so eloquently described by Curt Sachs) — of the delicate digits of the pianist to the expressive hands and torsos of the dancers and the musicality of the dancemaker. New Yorkers will be gifted (much as I protest the recent lazy perversion of our language which turns nouns into graceless verbs, trampling the correct and more elegant versions in the process — right? — this term seems to ring just here) with such an opportunity Saturday in Brooklyn, when Mathew Brookoff and his Brookoff Dance Repertory Company occupy the Duffy Studio of Brooklyn’s Mark Morris Dance Center from 5 to 6 p.m., variously occupying Schoenberg’s Six Little Piano Pieces and a Schubert Impromptu in the veteran choreo’s anything but impromptu duet entwinings. (I plead for an exception for that one from Messieurs Strunk & White.) In addition to these new sculptures in motion, Brookoff also expands his recent group work “Fracture” (above) from six to 12 dancers. Free and open to the public. Pictured at the rear, from left to right: Andrew Harper, Tiffany Mangulabnan, and Jordan Miller; in front: Ali Block, Amy Saunder, and Brian Gephart. — PB-I (inspired by Harris Green)
By Jordan Winer
Copyright 2000, 2017 Jordan Winer
SAN FRANCISCO — Two women take turns performing solos on a vast stage bathed in burnt sienna and ocher light. One sits and watches the other with full, rapt attention. As we in the audience watch the smile of the watcher, as well as the serpentine prowling of the soloist, all to the haunting strains of master oud player Hamza El Din, we are exactly where the title of the dance would have us be: Ecstasy. And this is only one part of one of the longer pieces, “Tarab,” the only non-premiere in a mostly satisfying program of Alonzo King’s Lines Contemporary Ballet which opened Friday at Yerba Buena. The crown jewel of “Tarab” is the brilliant Wedding Dance. As El Din played and sang, his sensual reedy voice filling the vast theater as soothingly as bathwater, pairs of women and pairs of men crossed back and forth striking snaky, Egyptian poses that contorted through every joint in their body. It was a pure and wonderful piece, the marriage couple ending the dance in mock fatigue, jostling together in reckless joy.
To receive the complete article, first published on April 9, 2000, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the DI for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at email@example.com . Lines Ballet performs Alonzo King’s “Biophony” and “Sand” December 13-22 at the Maison de la Danse in Lyon.
By Jill Johnston
Copyright Jill Johnston 2009
(Originally published in the Village Voice and Art in America and reprinted by permission of the author, whose many milestones include being the first dance critic of the Village Voice – and thus the oracle of Judson. Dance Insider subscribers get access to five years of the Jill Johnston Letter, as well as 2,000 exclusive reviews by 150 leading critics of performances around the world from 1998 through 2015. Not a subscriber? Subscribe to the DI for just $29.95/year by designating your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. If the Merce Cunningham Dance Company no longer exists, the Cunningham works “How to Pass, Kick, Fall, and Run,” previously performed in Paris by the company, “Inlets 2,” and “Beach Birds” will be reprised next May 30 – June 2 at the Theatre National de la Danse Chaillot (across the river from another monument, the Eiffel Tower) by the company of the Centre national de danse contemporaine d’Angers (whose recent directors include the influential Emmanuelle Huynh), featuring veteran Cunningham dancer Ashley Chen. Today’s publication sponsored by Freespace Dance and Slippery Rock Dance .)
It is not easy to see. Outside the theater, living as we do, most of us see very little with our eyes wide open…. It is rare to see more than a general outline. Or to see more and still enter. That is the crucial transition, from seeing to entering. Not only crucial but mysterious, so I won’t say any more except to note that I think most people who go to dance concerts don’t see very well, not even dancers, sometimes dancers especially, and most often critics, who must attend special classes in becoming blind.
Mr. Cunningham presented a new dance, “Aeon,” almost 50 minutes long, to a score by John Cage and with decor by Robert Rauschenberg. “Aeon” is a dance of great scale. It moves through so much, in range of quality, physical force, the human condition, that the whole thing is staggering to think of in retrospect. Human events: the activity of dancers on a proscenium stage. Other human events: the ways people communicate with each other, or speak for themselves. Exterior events: explosions, clouds, lights, a machine, sounds. And always the dancing, the superb dancing. The stillness too, which is never a mere choreographic stop, but an act of undaunted containment, of simple yet magnificent composure, of not-being which is the essence of being. A complete act, not a choreographic or dramatic transition.
Cunningham’s own range in this dance is fantastic. Not only those typical sudden shifts from motion to stillness, but the subtle gradations of energy (I have a vivid memory of an ‘incident’ originating as a vibration in the thighs, transferred to the stomach, traveling upward to the arms and shoulders and exploding like a geyser at the top); not to mention all the complicated coordinations, and wordless drama that every movement event secretes.
Cunningham is a great dancer, and you know it not by his technical range and command alone; you feel it in the whole man, the whole man is in it every time. You may see a procession of selves and the man never makes a move not true to himself.
— From “Dance: Cunningham in Connecticut,” The Village Voice, September 7, 1961.
The exclusion of Cunningham this summer, despite the anniversary, despite the fact that Limon is a charter member of the whole affair and that Graham is almost a national monument, is a sad reminder of how impossible it is at any moment in a history of anything for certain (controlling) groups of people to see where a thing is going, to put their fingers on the heartbeat of a movement…. Maybe New London should stick to a museum policy only. In this category they can hardly miss. And Limon and Graham easily command the field where statues are in question. They both have attitudes about themselves and about dancing that have more to do with the glory of Greece and grandeur of Rome than they do with life in America at the present moment.
— From “DANCE: New London,” The Village Voice, August 30, 1962.
The dance world is embarrassingly backward. Cunningham should pack Philharmonic Hall for a week at least. He has no peer in the dance as a consummate artist. Moreover, he continues to be abreast, if not in advance of all recent developments…. Cunningham belongs to that great shift of focus — from representation to the concentration on materials — which is so central to the revolution in art in this century…. The curious thing about this kind of dancing is that emotion is created by motion rather than the reverse, which is the traditional view of modern dance. But since there is no specified emotion, I believe that what you feel in the movement is the impact of a total action. Each movement means only itself and it moves you by its pure existence, by being so much itself. It is Cunningham’s magic as a performer to make every action a unique and complete experience. The gesture is the performer, the performer is the gesture.
— From “DANCE: Cunningham, Limon,” The Village Voice, September 5, 1963.
In the 1980s Cunningham presents a profile of extremes. His iconoclastic approach to choreography (launched in the ’50s in collusion with Cage) — the dance and music co-existing in a common time frame, but otherwise independent of each other; the application of chance procedures to the movement itself; the defocusing of the space in an allover look, no element supposedly more important than another — is still state-of-the-art work. And where Cunningham sees examples of work by younger choreographers in which dance movement is measured in meter, to the music, or in which movement appears to represent anything other than itself, he will characterize it as 19th-century work. Yet in some respects Cunningham himself exhibits 19th-century characteristics. In the ’50s, and even in the ’60s, this 19th-centuryness could hardly have been apparent, if at all, because the deep, or a priori, structure of the work, the gender-given aspect, still went unquestioned, and was therefore invisible.
Conscious gender play has in the meantime entered into the choreographic considerations of a number of younger artists (among them David Gordon, Mark Morris, Steve Paxton, Lucinda Childs). But Cunningham himself clearly continues not to question this ‘deep structure.’ Most apparent, and most boring, in the range of male/female breaching in his work is the predictable lift. “Roratorio,” with its extensive social partnering, has more than the full complements of lifts to be expected in a Cunningham dance. Again, he inherits this convention from the ballet, yet generally the way his men lift or carry or place or drag his women is much more like a vestigial echo of the ballet than anything resembling the no-nonsense support of the ballerina for the purpose of exposing her line and ‘sex’ and sweeping her through pedestals in the air. Although Cunningham’s manipulations of women are comparatively matter-of-fact, frequently like an afterthought, en passant really, they still appear to affirm, if only perfunctorily, the assumed dependency, weakness, helplessness, etcetera, of women. Certainly, his women remain armless in this way, except in the conventional decorative sense. But Cunningham would no doubt say that lifting is, simply, along with leaps, jumps, turns, etc., part of the raw material of his medium, something that bodies can do on stage, and to which he can apply his chance operations, obtaining the most interesting variations in rhythm and sequence.
“Roratorio,” like all Cunningham’s dance, brims with the most wonderful changes in speed, direction, rhythm, dynamics, groupings, as the whole piece moves stage left to right, in a linear action (not, incidentally, unlike the circular structure of “Finnegans Wake”), finally exiting to the right as the dancers carry off the seven or so stools that accompany them as they traverse the space. But the one variation you won’t find is in the lifting of women. Men always lift women, or “girls,” as Cunningham calls them throughout “The Dancer and the Dance,” the excellent book of interviews with him by Jacqueline Lesschaeve. And these days, no doubt because Cunningham, in his late 60s has lost even a hint of virtuosity in his own dancing (he essentially walks, and gestures), the vigor and expansiveness in his work is all projected through the males in his company.
At one time, say as late as 1972, when Carolyn Brown quit the company, Cunningham’s men and women were at least technically somewhat closer together. He had more mature women dancing with him then, not only technically accomplished (Brown was of prima quality) but with interesting character as well, and he and the men also of course were nearer in age. Now there are great gaps in his demography. He is 67, one of his men is 40, the rest are in their early 30s, and 20s. His men are fun to watch, his women are good, certainly attractive, but only Cunningham, immobile and arthritic as he is, carries the weight of character, of presence, of the necessary eccentric factor, that makes any company great. The general impression is of a marvelous gaunt grandfather tree, craggy and leafless, weathered and patinated, amazing in its knotty configurations, its sheer endurance, sticking way up over a band of brightly colored acorns dancing at the foot of its trunk.
There was a certain perfect reverberation between Cunningham, on stage, and Cage, in his box, in “Roratorio.” Cage delivered his Joyce text like some hoary old poet; Cunningham appeared on stage like some ancient satyr. And the panoply of noise along with the explosion of movement that surrounded them invoked that great line of Thomas: “Do not go gentle….”
— From “Jigs, Japes, and Joyce,” Art in America, January 1987.
From the exhibition Robert Rauschenberg: Among Friends, running through September 17 at the Museum of Modern Art: Trisha Brown, “Glacial Decoy,” 1979. With costumes, set, and lighting (with Beverly Emmons), by Robert Rauschenberg. From performances by the Trisha Brown Dance Company at the Marymount Manhattan College Theater, New York, June 20–24, 1979. Left to right: Trisha Brown, Nina Lundborg, and Dance Insider contributor Lisa Kraus. (See below for Kraus on setting Brown’s “Glacial Decoy” on the Paris Opera Ballet.) Photograph: Babette Mangolte © 1979 Babette Mangolte. (All Rights of Reproduction Reserved) Courtesy Museum of Modern Art.
Newly preserved by the Museum of Modern Art from a unique nitrate print in the museum’s collection, Alfred Werker’s rollicking pre-Code musical comedy “It’s Great to Be Alive” (1933), above, produced by the Fox Film Corporation, is set in a near future where every man on Earth has succumbed to the fatal disease of “masculitis.” As Edna Mae Oliver leads a team of female scientists in a desperate attempt to create an artificial man, one lone male — an aviator, played by the Brazilian star Raúl Roulien — is discovered living on a tropical island. Returned to civilization, he becomes an object of hot contention, claimed by his fiancée (Gloria Stuart — who’d portray the aged Rose in James Cameron’s “Titanic” 64 years later) but kidnapped by a gangster (Dorothy Burgess) who plans to auction him off to the highest bidder. Final showing tonight at 7 p.m. at MoMa in New York City. Image courtesy MoMA.
Aki Tsujita in Darren Johnston’s “Zero Point.” Foteini Christofilopoulou photograph courtesy the Barbican.
LONDON — The muffled, thudding beat of Tim Hecker’s ambient sound score reverberates through our bodies — it’s like the noise you might hear waiting outside a cool nightclub. The dazzling bank of lights rotates towards the audience, blinding us before diminishing and plunging both stage and auditorium into darkness. Smoke fills the stage and laser lights shine down on it from above to create giant cones of mist. This is the hypnotically dramatic opening to Darren Johnston’s “Zero Point,” seen at the Barbican on May 26. A male dancer emerges from the claustrophobic gloom upstage and walks meditatively into one of the cones, fluidly progressing through a series of sculptural poses, working within the confines of the translucent edges. He leaves as two women emerge and take up position in the other two cones. In slow motion they sink to the ground then rise up again, turning, then repeat these motions, their mouths gaping open like gargoyles from an ancient civilization. Their physical language mixes Butoh, contemporary and Eastern ritualistic dance. It’s strong and grounded.
British choreographer and visual artist Johnston works with perception-altering visual and aural effects in “Zero Point,” which takes its name from Quantum Physics’s notion of ‘trapped’ space. Video projections, motion sensing digital technology, and trancey music transform the stage into another galaxy while lighting effects unzip the darkened stage into geometric sections for the dancers to perform in. Even time seems to be momentarily suspended.
“Zero Point” is a work that has been inspired by Johnston’s residency at the Museum of Art in Kochi, Japan. His cast of nine Japanese dancers who collectively draw from a range of disciplines including ballet, contemporary, Butoh, and Qigong are alumni of Tokyo’s New National Ballet, Sankai Juku, Netherlands Dance Theatre, and the Forsythe Company. The mixture of styles is performed with a contemplative quality and presence that is inspired by Buddhism and sacred Japanese ceremonial spaces. Movement flows in repeated cycles, with frozen poses pausing the tempo and the performers embodying a theatrical neutrality and modesty. Energy is contained and protracted through their bodies. There’s a welcome stillness and an aura of calm about them but also a lack of humanity. Sitting in the auditorium, I feel distanced from the performers and yearn for a fuller immersive experience.
Loose narratives of re-birth are played out through duets between Yatsutake Shimaji and ballerina Hana Sakai. He carries her onstage then makes her come to life, his hands hovering over her body, commanding her actions as if she’s his puppet. She ascends from the floor and extends to her full height on pointe, before gliding towards him as if under his spell. In their partnering Sakai and Shimaji create imaginative tableaux, but the use of balletic lines, while visually striking in the fractured light, lacks the earthy connection that is seen in the shapes of the contemporary and Butoh dancers. The demanding, ambitious Western associations of ballet jar awkwardly with the selfless Eastern spiritualism of the work as a whole. This balletic duet is also annoyingly patriarchal and while the other women move as equals to the men, with their freer expressions, Sakai does not, restrained by both her partner and her discipline.
While “Zero Point” is a reflective and inventive work which can easily seduce, choreographic ideas feel somewhat undercooked.