During our most recent Dance Talk, cultural anthropologist Toni Shapiro-Phim offered a behind-the-scenes peek into the creative process that brought internationally acclaimed choreographer Sophiline Cheam Shapiro’s A Bend in the River into being. Shapiro-Phim considered the rich possibilities and complex challenges of recreating an old tale through innovative collaborations among award-winning and emerging Cambodian performing and visual artists. She looked at this within the context of Cambodia’s contemporary socio-political landscape and its legacies of brutality and loss, and explored the potent impact of aesthetic choices in relation to issues of justice and equity.
Earlier this week, dance critic, author, and choreographer Deborah Jowitt led an insightful video-illustrated examination of Bill T. Jones/Arnie Zane Dance Company and the distinguished career of its Artistic Director, Bill T. Jones. From one of his first New York appearances in 1977, on a Choreographers Showcase at Dance Theater Workshop to the celebration of the company’s 30th Anniversary Season, Jowitt tracked the evolution of his work. Through it all, Jowitt noted, Jones remains unafraid of confrontation, of revealing aspects of his personal life, of tackling social and political issues, or of letting strength and beauty reign.
See the Bill T. Jones/Arnie Zane Dance Company in performance at The Joyce Theater March 26 through April 7. Purchase tickets now.
And, remember to join us for our next Dance Talk, when cultural anthropologist Toni Shapiro-Phim opens a behind-the-scenes window onto the creative process that brought internationally acclaimed choreographer Sophiline Cheam Shapiro’s A Bend in the River into being. Shapiro-Phil will consider the rich possibilities and complex challenges of recreating an old tale through innovative collaborations among award-winning and emerging Cambodian performing and visual artists. As this creativity blossoms within Cambodia’s contemporary socio-political landscape and its legacies of brutality and loss, she’ll also explore the potent impact of aesthetic choices in relation to issues of justice and equity. Read more here, and reserve your spot by emailing email@example.com.
Missed yesterday’s Dance Talks focusing on Tero Saarinien? We’ve got you covered! Watch video of the event here. Maura Keefe, chair of the Department of Dance at the College at Brockport (SUNY) and a Scholar-in-Residence at Jacob’s Pillow Dance Festival, led an insightful discussion on the Finnish choreographer.
The 100-year anniversary of Stravinsky’s Sacre du Printemps provided a launching off place for an investigation of Saarinen’s work. His stunning solo HUNT, performed to Stravinsky’s masterpiece will be seen at The Joyce next month, as will the dynamic group work Scheme of Things. In this video-illustrated talk, Keefe considers Saarinen’s roots as a dancer with the Finnish National Ballet and his choreographic quest to explore the dance world well beyond the borders of Scandinavia.
Take a look.
Then, purchase tickets to see Tero Saarinen Company at The Joyce March 6-9.
While on assignment at The Joyce photographing Les Ballets Trockadero de Monte Carlo, Andrea Mohin shared her thoughts about the joy of dance and her years photographing live performance for The New York Times.
“Sports photographers have the advantage of knowing the goal — players have roles and are trying to meet the same ends, often together, as a team. Dance, however, can be totally unpredictable. There is no end zone, no basket. The action is just as quick.
Vicente Wolf Makes Over the Joyce Theater’s Dance Rehearsal Space
Text by Elizabeth Stamp
January 14, 2013
As any performing artist can attest, rehearsal spaces are not known for their intimacy or comfort, let alone design. While large empty rooms are ideal for grands jetés, they are less conducive to socializing or relaxing. Dance Art New York (DANY) Studios at Chelsea’s Joyce Theater set out to refresh the common areas of the two-floor, 20,000-square-foot facility into a welcoming—and stylish—environment for the many dancers who consider it their home base.
AD100 designer Vicente Wolf, a longtime supporter of the arts, was called upon to perform the makeover. The highly sought-after designer (one of his projects was AD’s January 2013 cover story) generously gave his time and talent for the pro bono commission. With donations from companies including Crate & Barrel and PPG Pittsburg Paints—plus a little help from Architectural Digest—DANY was given a fresh, new look befitting the revitalized center.
Les Ballets Trockadero de Monte Carlo, the delightful dance company of male ballerinas, is back at The Joyce Theater for a three-week season. In this week’s Time Out New York, Artistic Director Tory Dobrin talks with Gia Kourlas about the company’s upcoming season, how pretending he was Little Red Riding Hood secured him a spot with The Trocks, his ballet bucket list, and much more!
“The energy snakes through the spine bringing the ‘dance’ up to the head, down to the pelvis, or maybe out through the ribs,” said Crystal Pite as she led thirty-something dancers in a warm-up for her improvisation Master Class at DANY Studios. Pite’s clear imagery – “fill a barrel with your body” – allowed today’s eager dancers to manage their limbs as both puppet and puppeteer. Pite constantly asked dancers to make choices by inserting freezes/pauses to “focus, direct the intention of the movement.” Pite challenged the class to work with the air utilizing a sculpting sensation in the extremities – “the foot isn’t just out there, what is it doing, pushing, pulling, reaching, grasping?” Through several exercises, Pite molded the group into a living composition. In the final exercise, Pite engaged dancers in building a narrative sequence (beginning, middle, and end) through an advance/retreat construct which allowed dancers to move freely in their own plane but required them to align their progress with those on either side of them. To end, Pite invited participants to share questions, comments, or discoveries about their process – a rich conversation.
The Joyce Theater Master Class Series continues with Russell Maliphant, on December 7th and “will focus on quality and connections, with particular attention to fascia anatomy experienced through yoga stretches and exercises - opening and integrating the body before taking that into movement phrases and improvisational tasks.”
As a proud partner of the Chelsea Cultural Partnership, The Joyce would like to tell you about Destination Chelsea, our newly relaunched website.
Destination Chelsea provides an opportunity to dive deep into the cultural landscape of Chelsea. Focused on connecting the dots between arts events, open spaces, and local businesses this mobile-friendly site helps residents and visitors alike plan for serendipity both days in advance or while in the neighborhood. Crafted through collaboration between resident arts organizations, Destination Chelsea is the definitive guide to what’s happening in Chelsea.
We hope you’ll take a look around and then take part in all the rich cultural experiences Chelsea has to offer!
Dance artist Gus Solomons jr shares his thoughts on choreographer Crystal Pite’s approach to dance and introduces her work The Tempest Replica. Take a look at the video below and then see Kidd Pivot on the Joyce stage Nov 28-Dec 6. Tickets are available at Joyce.org.
The Joyce Theater Foundation was very fortunate to have Vicente Wolf, one of Architectural Digest’s AD100 designers, contribute his skills towards making over the common areas in our DANY Studios. In addition to being beautiful to look at, Vicente’s gorgeous redesign provides seating and comfortable spaces for the dancers to eat, relax, and congregate before and after rehearsals.
Take a look at the design journey in this video clip from SPACEStv (look out for cameo appearances by Executive Director Linda Shelton and our new artist-in-residence Stephen Petronio: