Tag Archives: choreographer

Behind the Scenes With Post:Ballet

It’s a Thursday evening and Post:Ballet‘s Robert Dekkers in is five places at once. He’s in discussion with his lighting designer, conferring with dancers, and bringing me up to speed about some of the collaborators he’s working with this season. He cues the music with his phone and the dancers run through DoBe:Family Sing-a-Long and Game Night, Dekkers’ newest work, (due to premier at the end of July), bodies playing off each other in a tangle. There’s humor, exaggerated facial expressions, even partnering role reversal, with the women doing the heavy lifting.The choreography includes elements of games like charades and red light/green light set to a score that revisits singing and nursery rhymes. Read More »

Interview with Kat Roman, Artistic Director of Copious Dance

This week I had the pleasure of interviewing Kat Roman, founder and Artistic Director of Copious Dance Theater. Founded in 2009, the company name is derived from the Latin adjective “Copiosus”, meaning plentiful or abundant. Ms. Roman shares the company philosophy and technique, based on the modern technique of Lester Horton, with students of all levels through regular classes and workshops. The Swiss native received her BFA in Dance from California State University Long Beach and holds a Horton pedagogy certification from the Ailey School in NYC. She currently teaches Horton Technique at Alonzo King Lines Dance Center in San Francisco. As the Artistic Director of Copious Dance Theater, Ms. Roman is charged with broadening the company’s reach by connecting with new audiences interested in dance. “My main goal is to make modern dance accessible to people,” she says.  
Kat Roman in The Conference of the Birds Photo by Hemali Zaveri

Kat Roman in The Conference of the Birds
Photo by Hemali Zaveri

1. Conference of the Birds was inspired by the Persian poem of the same name by Farid ud-Din. How did you discover this poem and why did you choose it as the basis of your new work? How do the central themes of the piece translate into choreography?
Four years ago a producer in San Jose approached me asking me “Hey can you choreograph to this story?” At the time I was very busy and involved in a different production so I couldn’t do it. I liked the story very much, and when I did some research last year, I found that there were many theater performances of this story  but rarely any that were dance.  I jumped on the opportunity hired a few more dancers in September and started to choreograph.
I chose it for the following reasons:
• A Story about Birds. Birds have interesting movement patterns on the ground and in the air. I thought it would be interesting to research them and included the specific bird mannerisms into our choreography: So each Dancer was assigned a character from the story. I embellished them by giving them some attributes. For example: The Hoopoe bird is the wisest of them all and is the “leader bird” of the group and also quickly gets annoyed and impatient when his flock of bird doesn’t follow directions or things to go her way. The parrot is cheerful and silly and the owl is our “goth chick”… dressed like one and acting like one and a bit slow overall. Some of the attributes are I made up, some are straight out of the original poem. I think they add depth to the story. It’s almost like placing an “easter egg” in a video game. If you look closely at the characters dancing you might figure out an entire new backstory about that bird.
• I like that it has many sections/valleys. In the story the birds must travel through many valleys to get to their ultimate destination. Here I have the potential to keep the audience engaged by changing the moods and environments the birds travel through constantly. Unlike  more traditionally danced stories like Giselle where you look at peasants dancing for the first hour and the second hour one looks at the same forrest (no offense Giselle is a beautiful ballet). I am working closely with the lighting designer to create moods such as the scary valley of fire or a beautiful garden. In terms of music the audience will enjoy as similar roller coaster as well.
• It’s a beautiful story. I believe it’s the story of all of our lives. We all search for something bigger, fulfillment and happiness. Some travel, some go do drugs, some buy expensive things to find happiness. Yet, the ones who realize happiness and fulfillment  is a choice they make every day… those are the richest people on earth. I realize this is not what Attar (the Author) wanted me “to get” from his poem. But the fact that I understand it this way  and someone else might get something else that is valuable for them, makes this such a beautiful story.
2. Can you tell us a bit more about the high fashion costumes?
Ok, not sure how high fashion they are after all (I am smiling while writing this). I handcrafted and designed each and everyone of them even though I am not a costume or fashion designer :-) but I like to sow and be creative.  Instead of dressing all the birds into feathers and bird outfits, I chose to dress them like well dressed fashionable adults who have clothing attributes that point to what kind of bird they might be. To keep a common thread – I chose to dress them in military style coats and dresses – (do a google search for military style fashion images – so I am not talking about camouflage pants and boots here :-)
By dressing the birds like humans, who experience human things and desires but still carry out their bird mannerisms in their movements I blend the fine line between human and bird. Just like the original poem: It’s a parable about birds but it really tells a story about humans. By not dressing them in bird costumes I also feel that the work is less likely turn into a children’s circus act.
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Angela Dice Nguyen, Harper Addison in The Conference of the Birds Photo by Hemali Zaveri

3. Part of the mission of Copious Dance is to connect new audiences with dance. What are the most effective methods you’ve found? What do you hope audiences will experience?
I hope the audience won’t get bored. I want them to understand what they see on stage and be able to enjoy watching modern dance. Now days, “regular people” – meaning non-dancers, are often alienated by experimental modern dance. They don’t understand whats going on on stage. By adding fashion, lots of scenery changes, a clear story line and (of course) good choreography, I am hoping to keep the audience engaged. For those audience members who are not familiar with the story, I will have it printed in the program to follow along for those who like. I firmly believe it’s not good to let the audience walk out the door confused. I hope of course they that they will enjoy my work, but even if they don’t, at least they are not confused.
4. Anything else you’d like to share?
The story is for adults. Kids are welcome but they might not “get it”. If they are able to sit through a 90 minute program with only one intermission then by all means bring them.
 Copious Dance Theater’s 2nd Home Season will headline the world premiere of Conference of the Birds and new work by Erik Wagner entitled, Glass Slippers. The evening will also include a reprise of the 2009 hit Taka and an energetic piece from Roman’s Horton Technique students entitled Bleuphoria. 
Show Information:
Conference of The Birds
March 27-29th, 2015 at Z Space in San Francisco. 
tickets and information at www.copiousdance.org.
Connect with Copious Dance Theater:

Interview with Jhe Russell aka Rawzen

There are many facets to Jhe Russell. Throughout his professional dance career he appeared  worldwide with a number of top dance companies, including the UK’s Northern Ballet, Bejart Ballet Lausanne, Boston Ballet, The National Ballet of Canada, Dance Theater of Harlem, Bucharest Opera and North Carolina Dance Theatre. Today he is making a name for himself as a Hip Hop recording artist and choreographer.

1. How did you get started in ballet?

When I was six I was fascinated by Super Man. I wanted to fly like him so I would wear my blanket as a cape and imagine that I could float across the sky. Later on I saw a commercial for Boston Ballet’s Don Quixote and I watched Rudolf Nureyev on the screen. I saw him jumping with no wires attached to him and I asked my mom to take me to see him dance. When I saw Nureyev dance with Boston Ballet I knew at that point that I wanted to fly through the grace of ballet.

2. When did you feel like you had reached the pinnacle of your career? Can you describe a favorite moment in dance?

The pinnacle of my career was when I got the chance to dance the lead role of Basilio in Don Quixote with The National Ballet of Canada. Don Quixote was the first ballet I saw and it was my dream to dance the lead role in that ballet.

3. You went from ballet to beatz. How you get involved with music? What was it that lead you to start creating music?

Hip Hop music was the canvas of my life outside of ballet. I was always mesmerized by the personality that oozed out of the art emceeing. An emcee stands for master of ceremonies and the most powerful aspect of the emcee is the creativity put into their lyrics. I was inspired by groups like Public Enemy, Krs-One, Run DMC, U.T.F.O and L.L. Cool J. I wrote my first rhyme when I was in grade eight but I found my true voice in Hip Hop from the art of freestyle rhyming. Freestyle rhyme is the ability to recite an unwritten rhyme at any given moment. When I was in the National Ballet School of Canada, my ability to freestyle brought me closer to the other students who were not familiar with Hip Hop culture. Unity, peace and having fun are the most important aspects of Hip Hop culture and those are the energies I like to project when I am emceeing.

4. “Tribute to Maurice Béjart” is one of your most popular videos and you were a dancer in his company. Why did you choose to make this song? Why Maurice Béjart?

The reason I chose Maurice Bejart for my musical tribute was because Maurice Bejart was all about bringing cultures together through dance. In the classical ballet world, dancers of a darker complexion tend to struggle for their place but at Bejart Ballet you see every race represented at the highest technical level. The hook of the Bejart tribute goes “We want more war but we need more peace, we want more dance but we need Maurice”. War in this case, stands for everything that has to do with ignorance. Racism, Religion, Money and natural resources are some of the issues that we go to war over every day. Unity and appreciating all cultures through music and dance can heal this world that is saturated with misogyny, homophobia, racism, greed and violence. Maurice’s name is used in my song to represent change and the continuation of pushing boundaries.

5. You have officially retired from dancing professionally. Can you share what the process of transitioning into new career pursuits has been like for you?

I am still trying to figure out my next move after retiring. I am currently looking to teach and choreograph for companies and schools. I have been blessed to have people around me who have helped me tremendously during my transition.

Tony 1730 – Jhe’s unique choreographic tribute to Tony Fabre and Nelson Mandela danced by Clelia Mercier

6. What is your vision for the future?

My vision for the future is to first appreciate every moment happening in this moment. I would like to one day have my own company where I can choreograph and showcase my Hip Hop music. Teaching workshops where I can educate young people through the art of rhyme and dance is also something I would like to accomplish.

You can help Jhe’s dream of having his own company come true by voting for his piece Tony1730, which has been selected for a choreography competition here.

7. What advice would you give to today’s young dancers?

My advice to young dancers is to never forget your ancestors. It is important to know who came before you in order to see after you. Use youtube to study the legends who did or are still doing what it is you want to do. Remember that technique is not the spirit of dance but that your personality is the spirit of dance. Dance was a form of celebration for the gods in ancient times and the spiritual power given to movement that is truly free is untouchable no matter what color, gender or size you are. Always remember that whoever you idolize is no different from you. Be humble and grateful for every opportunity you get. Make sure you form your own opinions because it is very easy to be influenced by other people’s perspectives. Absorb the energy that is being given outside of the world of dance so that you can become the physical voice of real life issues. Hip Hop means to be two things, Hip means to be aware and Hop means forming a movement that expresses your awareness. Be true Hip Hop and move with the knowledge that surrounds you and educate the ignorant.

 

Follow Jhe on Twitter: www.twitter.com/jherussell

Rawzen on YouTube:www.youtube.com/channel/UCsweRxTYlk-kkLT5h-LPoSQ

Download Rawzen’s Albums:
Harriet Tubman’s Attic – www.cdbaby.com/cd/rawzen2
Highly Focused – www.cdbaby.com/cd/rawzen3
The Poetic Variations (as Cum Laude The Anomaly) –www.cdbaby.com/cd/cumlaudeta

Rawzen on SoundCloud: www.soundcloud.com/rawzen

 

An Interview With Enrico Labayen Labayen Dance/SF: A Choreographer With Heart

 

Keon-Saghari, Yuko-Hata, Regan-Fairfield, photo by Weidong Yang

 

 

 

 

 

 

 

 

 

 

Enrico Labayen’s holistic perspective informs every aspect of his work, to create dance that combines Mr. Labayen’s unique background of a firm base in classical ballet and modern American dance with his Philippine heritage. His dance both recalls the ritual and tradition of his Asian background and explores technology and Western modes of expression. Labayen Dance/SF, his contemporary ballet company, founded in 1994, is where it all comes to fruition.

Mr. Labayen began his dance career at age 13 in the Philippines before moving to the US, where he studied on full scholarship at the American Ballet Theater School, Ailey’s American Dance Center, Joffrey American Ballet Center and performed with many ballet and modern dance companies, including American Ballet Theater II, Alvin Ailey American Dance Theater, Larry Richardson Dance Company, Eglevsky Ballet and Alonzo King’s LINES Ballet.

Critics have hailed his work “hypnotic and mesmerizing” (Dance Magazine), “gutsy, earthy and emotionally hungry” (SF Focus) and a powerful and passionate celebration of female strength” (SF Bay Guardian).

He has been decorated with a constellation of accolades including two Isadora Duncan Awards and “Dancer of the Year” from the Beaux Arts Society of New York.

I was able to catch up with Mr. Labayen in the midst of preparations for his company’s upcoming 18th anniversary shows, March 15-17, in San Francisco.

1. What was your biggest surprise/epiphany during the creation of your new work?

My beloved eldest sister died of pancreatic cancer a couple of months ago. She was 71.
She lived alone in Las Vegas. The day of her birthday, Sept. 13, doctors’ prognosis: pancreatic cancer stage 4. Happy Birthday!:=(

The first thing she said was, “No tears.” I cried privately. She never saw me shedding tears. I became her primary caregiver from the day she was diagnosed till she took her last breath. And I promised her that she would not be in pain, I made sure of that. Thank God for pain management doctors. Still no tears.

I have learned more in the process of seeing someone I love dying. I see the world and human beings differently. I see God and Buddha in everyone. A painfully beautiful, magical experience that has changed me forever. I can go on and on about the experience but this will turn into a novel.

My sister asked why I use Western music so much. I asked my violinist friend and his wife to classically arrange all of my sisters’ favorite folks songs and it turned out beautifully. LOVE SONGS is my personal experience about domestic violence commited against women and the innocent victims, the children. Hence, the work TEARS and LOVE SONGS came about.

As a creative entity that I am, this is my epiphany. Now is the time for me to tell and reveal my story. No more inspired by nor any political statement. I leave that to CNN. Art in itself is politics…no matter how one cuts it. At 60 years old, I am now revealing who I really am. My story and my life in restrospect is inspirational to those who came from my hopeless case.

 2. Where do your ideas come from?

My works right now are much more about my story. No more fairy tales and “tripped out” ideas although it always worked beautifully but failed as far “kinesthetic” experience I lived through…ART was my escape to my own reality. Now, I am writing, so to speak about my kinesthetic experience… the quickest communication between human beings…better than words, it is action that is my “Truth”. My autobiography set to the language of movement not words. In metaphors and no hyperbole.

I grew up in – if you saw the movie “Slumdog Millionaire” – but not as lucky. Literally dirt poor with 12 siblings and no parents…they were there but much more of a hindrance and a burden that we kids had to bear. My parents came close to selling us to pederast and pimps. Third world poverty sucks. We have a perfect excuse to be criminals, prostitutes, thieves and murderers but my beloved sister guided us through and gave us discipline and responsibilities and that made us into honorable hardworking individuals who turned out to be successful as financial analysts, nurses, accountants etc… productive citizens contributing to the society we now all live in.

We did not make the same mistake that our parents did, remarkably my brothers and sisters are living the American dream. Their kids are serving the US Marines, reserve US Army and all 30 of my nephews and nieces are all college grads and an asset to this country, not bad for a desperately “dysfuntional” origins. I am very proud of all of them…it cost blood, sweat and tears to fight what was expected from where we came from.

Choreographers talk about relationship with each other in a “hypothetical terms” Now, I talk in “REAL terms”, from life experience that I have had plenty of, the good, the bad and the ugliest! Art soothes the savage beast in us all, that separates us from the animal kingdom.The best therapist, ever!

I can say nature, politics, blah, blah blah but as I have mentioned above, REAL LIFE in REAL TERMS experience from now on. My committed dancers…all of them beautiful human beings and as my story unfolded in front of them, they in turn told their stories…sexual abuse, addiction, etc… The group has bonded so tightly that it is not a dance company anymore…an extended family that is supportive, caring and loving of each other. The healing has begun for us all. This is where my ideas come from: revealing and exposing the truth. Saying things unabashedly honest but maintaining a sense of BEAUTY in the ugliest of all life experiences. I do not intend to create masterpieces; my intention is to create good and honest work that reflects REAL life according to my kinesthetic experience.

3. What excites you most about your current production?

Meeting new collaborators…composers, lighting designers, costume designers, set designers; not knowing that they also had experiences like mine and now they have shared their life experience with me. Honesty has become my mantra. My new works TEARS and LOVE SONGS excites me, the NEW me excites me. LIFE excites me. Discovering beautiful and young dancers from Westlake School of Performing Arts in Daly City, which has 80% Asian students and has produced young dancers who have won Silver medal and Gold medals in the Varna Ballet Competition and Prix de Lausanne excites me. The honing and mentoring of up and coming new choreographers from Mexico, Brazil and Russia excites me. The passing of tradition and leaving a legacy with these young artists excites me. This is the beginning of a new journey for me as an artist and THAT excites me.

4. You have a guest artist (Sandrine Cassini) for this upcoming production. What should we know about her?

Sandrine took my ballet class when she was in town. Not knowing anything about her professional background ( Paris Opera, Hamburg Ballet, etc.) my intuition told me that she was a good human being and a seeker of truth. Technically brilliant, artistically explorative, extremely musical and feet and extension for days!!! Impressive, but in my mind’s eye, those are just requirements. Even before she danced for me I had told her in our short conversations between classes that she must have been a Californian in her past life. She told me that the minute she landed in the Bay Area she felt she was home. She kept coming back and taking my classes. It was really hard for me to ask dancers to dance for me since my budget is so limited and I can only promise a stipend and a humble performance fees. Sandrine was telling me how much she loved my work, she had seen my company in two concert seasons and asked me if there was a place in it for her! Lo and behold, I have stunning world-class dance artists doing the lead roles in my new works. Again, that excited and challenged me…. Somebody in heaven I think loves me. Everything happens exactly when it has to happen. She has become my muse.

See SF/Labayen’s upcoming 18th anniversary

March 15 – 17, 2013
Dance Mission Theater
3316 24th Street, San Francisco, CA 94110
Tickets

Highlights include the US premiere of Enrico Labayen’ s “Rites of Spring” celebrating the 100th anniversary of Igor Stravinsky’ s groundbreaking modernist work composed in 1913 & “Tears”, collaboration with Bay Area composer/musician Gabriel Goldberg plus new works from exciting choreographers Viktor Kabaniaev, Laura Bernasconi, Diane Lopes da Silva, and Victor Talledos and others.

French dance artist Sandrine Cassini, formerly of Bejart Ballet Lausanne and Paris Opera Ballet makes a guest appearance.