Haven’t yet subscribed to the DI? This week you’re missing Parker Herren’s Flash Review of Charles Atlas Presents: The Kitchen Follies, with performances by Dancenoise, Jodi Melnick, and others, and the accompanying retrospective of Atlas’s video work recently presented at the New York theater. This week subscribers also receive, exclusively by e-mail, from the DI’s Archive of more than 2,000 reviews of performances on five continents by more than 150 writers, Angela Jones’s 2004 Flash of Margie Gillis performing at the Joyce Theater, which begins: “Margie Gillis is the reason I dance and choreograph.” And, from the same year, Chris Dohse’s Flash of Tere O’Connor’s “Frozen Mommy,” which, Chris writes, “burns into the mind’s retina like an 8-millimeter film with embarrassing footage from your childhood that sticks in the projector and melts against its bulb, blistering the image to smithereens.” To subscribe to the DI and access both new content and stories from our 20-year archive, for just $39.95/year individuals (students: $19.95 with university ID) or $49.95 institutions, just designate your PayPal payment in that amount to email@example.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail and Web site advertising and sponsor options. The Dance Insider is sponsored by Freespace Dance (top) and Slippery Rock University Dance (above).
This week exclusively on the Dance Insider e-mail list: Anne-Charlotte Schoepfer writes about the Conservatoire National Supérieur de Musique et de Danse de Lyon’s Maison de la Danse performances of Stéphane Delatre’s “Her Body is a Cage,” excerpts from William Forsythe’s “The Vile Parody of Address,” and (above), conservatory director Davy Brun’s “LAK.” DI subscribers receive the entire review in French and in English, plus art. Not yet a DI subscriber? To subscribe to the DI and access both this new content and 2,000 archived stories by 150 writers covering 20 years of performances and art on five continents, plus five years of the Jill Johnston Letter, for just $39.95/year individuals or $69.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options. Sarah Lowicki photograph courtesy CNSMD.
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Emilie Sudre in Anthony Egea’s “Soli 2.” Photo © & courtesy Jean-Jacques Mahé.
By Paul Ben-Itzak
Copyright 2009, 2016 Paul Ben-Itzak
(Originally published May 27, 2009.)
PANTIN (Seine-Saint-Denis), France — Apparently to goose his party’s standing for the June 7 European Parliamentary elections, French president Nicolas Sarkozy just announced he’s going to send a couple hundred more police over here to this department (as French counties are called) on the outskirts of Paris to take back several areas which in his view have been over-run by gangs. I have a better idea: Instead of simply squashing all that youthful energy, how about re-channelling it into constructive, creative activities and ends? I propose sending those young citizens over to the Centre National de la Danse. Even if, when one enters its newish, somewhat cold concrete building on the banks of the Ourcq canal just outside the Paris perimeter, it may seem more like a library or hushed sanctuary than a place where dance students flock to get their technique pushed and dance fans to seek inspiring performances.
Justement, as the French say, it occurs to me that the audience at the CND May 27 for the opening of Anthony Egea’s putatively hip-hop solo “Soli 2” was predominantly white (the youth in Seine-Saint-Denis are predominantly colored, French of North African or other African descent) and, except for the kid two seats over from me who finally stopped squirming when the dancer Emilie Sudre took off her top (tastefully — her back was to us for most of this segment, and more about that beautiful back in a minute), predominantly older. And considering that this was a hip-hop solo and the lady was busting to move, markedly sedate. (Sometimes at the CND, I feel more like I’m in a science laboratory than in what is theoretically in part a national hub of experimentation for an art vivant; no hubbub here, bub!) But what if a bunch of those excitable youth from all over Seine-Saint-Denis were bussed over to the CND?
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