Thursday through Saturday, San Francisco-based RAWdance presents the U.S. premiere of Fallout, re-envisioning the 1950s nuclear family and examining our struggles to redefine family ties in today’s political climate. RAWdance Co-Artistic Directors Ryan T. Smith and Wendy Rein decided to share some of the clips which provided inspiration and a historical context for recent political campaigns and the current debate on marriage equality.

In a recent interview with The New York Times‘ Gia Kourlas, Lar Lubovitch talks about his latest work, Coltrane’s Favorite Things, which premieres tonight at The Joyce. In this work, Lubovitch illuminates parallels in the works of two renowned artists. A recording of John Coltrane Quartet’s live performance of “My Favorite Things” accompanies Lubovitch’s choreography while a reproduction of Pollock’s 1950 work “Autumn Rhythm (Number 30)” serves as a backdrop for the dance.

In the program notes, Mr. Lubovitch–a former art major who affirms a life-long affinity for jazz and credits a John Coltrane rendition of Richard Rodgers’ “My Favorite Things” as the inspiration for this new work–says:

“In its time, the music of John Coltrane was described as “sheets of sound,” due to the overall aural environment created by his wall-to-wall, top-to-bottom, constancy of sound. Simultaneously, artists like Jackson Pollock were creating paintings depicting an overall visual environment for which the entire surface of the canvas itself was the subject. The term coined to describe this was “action field” painting. To tether Coltrane’s “sheets of sound” to Pollock’s “field of action,” I have arranged ribbons of movement.”

On its website, The Metropolitan Museum of Art refers to Pollock’s work using phrases we often associate with dance: “a dense lyrical composition,” “dynamic visual rhythms and sensations—buoyant, heavy, graceful, arcing, swirling, pooling lines of color—are direct evidence of the very physical choreography of applying the paint with the artist’s new methods.”

“In Pollock’s paintings action was happening everywhere,” Mr. Lubovitch said. “There wasn’t a vase in the middle or a nude on the couch. Coltrane’s sheets of sound and Pollack’s field of action were very much the same thing, one expressed aurally and the other visually.” Spontaneity was a critical element for both artists. For Pollock, there was “no central point of focus, no hierarchy of elements” as paint is poured, dripped, dribbled, flicked, and splattered across the canvas. Coltrane’s extremely dense improvisational style packed note upon note with high speed arpeggios played in rapid succession.

Watch and listen as the unparalleled jazz musician employs his unique style to produce “sheets of sound” in this 1961 recording of “My Favorite Things.”
http://www.johncoltrane.com/videos.html

In the New York Times article, Gia Kourlas explains how Lubovitch ties these concepts together choreographically, “by creating what he calls “ribbons of movement,” in which the steps aren’t as crucial as the energetic way motion flows and undulates. Katarzyna Skarpetowska, a dancer in Mr. Lubovitch’s company, characterized the motion as wavy and almost lazy — with just a hint of bite.”

Experience the convergence of all of these elements on The Joyce stage now through Mar 7. Tickets are available for purchase here.

In Grosse Fugue, which will be presented as part of Lyon Opera Ballet’s program at The Joyce, choreographer Maguy Marin explores the body caught “between the force of life emanating from the female existence and the state of enthusiasm and desperation of [Beethoven’s] music”. In this video, taken on the occasion of Grosse Fugue’s presentation at the 2008 Dance Biennial in Lyon, Marin takes time from rehearsals to discuss our relationship with time.

Marin says (here excerpted and translated from the original French) “The questions of past, future and present are there since the beginning of the world. They are always there to re-work on them and I think it is always important to return to these questions and to think about them. And I don’t mean think about them in one specific moment but now and again return to them, to constantly be in those back and forths, like a vibration that is always conscious of what it is made of, built of what people have already deposited, what they have said and done, their work. And then it is also a matter of what do we invent, what we deposit for those to come. So it is in this knitting, this vibration of the present between past and future that things are created, that they become and remain alive. […]
When we work in a space, the space is filled by all the people who have worked there before, all the musicians, dancers, choreographers, painters, everybody. They are all there. The difficulty is to make them get out, to tell them please leave me some space, but without sending them away. Yes that’s it, we have to make a bit of space but at the same time everyone is there we never invent all alone, we copy from others and then re-invent”.

Lyon Opera Ballet performs Marin’s Grosse Fugue, along with William Forsythe’s Duo and Merce Cunnigham’s Beach Birds at The Joyce, March 9-14.

As he prepares to open his performance at Joyce SoHo tomorrow night, Jaamil shared a poem with us that he wrote that served as a jumping-off point for his choreographed work. You can listen here:

Photo by Nathan Irvin

The poem Spirits of the Dead was the first piece of written research I’d done for An Expectation of Violence. It investigates a lineage of women who haunt me.  And not in the way you may think.  There are many ways to be haunted by the dead.  Some ways manifest creatively. The more I delve into the process and content of this work, I realize it’s a mini-biography of my mother’s life and death, as well as a reinterpreting of the multitude of violences that plagued her body and mind.  I also realize that this work has only begun to scratch the surface of where I’m beginning to venture in my dance making.  I’ve become deeply fascinated with ‘performance as personal memoir.’

Photo by Nathan Irvin

But this idea is nothing new for me.  In my writing life as a poet and man of letters, I’ve been told repeatedly that I’m a poet obsessed with memory.  My good friend, poet Remica L. Bingham, tells me I’m “a seer and protector of memory.” She is right.  So as I write this, it becomes clear to me that this work that I’m premiering this week at Joyce SoHo is an attempt at grabbing hold of a few clear memories from my life and setting them in motion.

Lar Lubovitch Dance Company’s long-awaited return to The Joyce is a jam-packed, two-week season. In an an all-jazz evening, Lubovitch re-imagines the choreographic possibilities of jazz.

The program features the world premiere performance of Coltrane’s Favorite Things, set to an iconic recording of John Coltrane’s interpretation of the Richard Rodgers song “My Favorite Things” and incorporating Jackson Pollock’s “Autumn Rhythm;” Nature Boy: Kurt Elling, set to the unique renditions of classic jazz standards by the Kurt Elling Ensemble; and Elemental Brubeck, set to lively tracks from Dave Brubeck’s 1963 album, Time Changes.

We’ve pulled together an itunes play list to get you prepped for performances. Enjoy!

The Joyce Theater welcomes Lyon Opera Ballet to its stage March 9-14. In addition to works by Maguy Marin and William Forsythe, the company will perform Merce Cunningham’s “Beach Birds.” Cunningham also choreographed “Beach Birds for Camera,” a version of the staged work created specifically for film that takes advantage of the flexibility of space and perspectives.

Listen in as Cunningham introduces the work made for film and provides interesting perspectives on why “the two media do not complete [as] each abides in its own territory” before you watch the video.

For more on the Lyon Opera Ballet program and to purchase tickets, click here.

Parsons Dance will grace The Joyce Theater stage for two more weeks. While they’re here, the dancers and staff of the company have agreed to share some of what goes on behind the scenes with us here on The Joyce blog. Check back often for daily updates.

Feb 18 - Parsons Dance understudy Christina Ilisije:
“I just finished yoga and on my way to the theater for company class. Unfortunately, not experiencing the performance high tonight, but I had so much fun jumping into Julie’s role in Remember Me for packed houses on Sunday and Tuesday evenings! A very memorable experience for my debut with Parsons Dance! Can’t wait to have another crack at it in Park City, Utah. After class, off to rehearsing backstage to get the style of Parsons further into my body!”

Feb 17 - Parsons Dance Eric Bourne:
“Having dinner at The Dish in Chelsea, looking forward to performing Swing Shift and Dave Matthew’s tonight! My folks get into town tomorrow from Michigan and all I can say is I’m really excited for both!! Come on out and enjoy the show tonight or tomorrow!!”

Feb 16 - Parsons Dancer John Corsa:
“On my day off yesterday, I relaxed after an exciting weekend with sold out shows on Saturday and Sunday. I also did my taxes and other errands. I’m looking forward to performing for friends and family in the last week of shows at The Joyce Theater! I hope you will join us.”

Feb 15 - Parsons Dancer Sarah Braverman:
“Just finished up a weekend of rep shows and Remember Me. My parents are in visiting from Los Angeles and I was really excited for them to see some of the new pieces. They loved it! My ma has been singing Wolfgang music all day! Week 3 here we go!”

Feb 15 - Parsons Dancer Melissa Ullom:
“Hey out there! Hope you all had a Happy Love Day! It is one of my favorite holidays! The dressing rooms were flooded with boxes of chocolates and we played lots of “lovey music” while we put on our make-up last night…(We started things off with a little Chet Baker–sexy jazz I had a few friends and a possible valentine at the show last night It was a sold out show and the audience was amazing! One more week to go!!!!!!!! Lots of love to all y’all!!! Xo melissa”

Feb 12 - more from Parsons Dancer Zac Hammer:
“Had a later call time today so I’m just now arriving at the theater and about to take class. I have an easier show tonight. I open with Caught, which always gives me a little case of the butterflies at the Joyce, even after doing it for years! But it always feels like such an accomplishment once I’ve finished the jumping marathon! Anyways after that cast B will be performing Remember Me tonight, so I’ll have a minute to stretch my calves before busting a move or two with Sarah…hopefully tonight I won’t choke on her hair!! Hahah! Merde ya’ll!!!”

Feb 12 from Parsons Dancer Zac Hammer:
“In recovery mode this morning and loving the sunny day.  We’re approaching the end of the second week and my body’s pulling through with the help of some Tiger balm, yoga toes, and a foam roller!  About to make some scrambled eggs and oatmeal and already on my third cup of coffee!  Haha!  Should be energizing enough!  Here’s to a great Friday!!”

Feb 12 from dancer Miguel Quinones:
“Yesterday’s kids show went really well. We had a lot of fun and kept the feeling of each dance as such. In fact, I think I will keep that feeling for all the rep. shows. I think it definitely translated to the kids, and as a result they really, really enjoyed the show. As far as last night’s evening performance goes, I felt good. Now it’s time to really get into the overall character of Marcus for the weekend. Who is Marcus? However, I need to try not to get too lost in Marcus, or I might not come back :)! I’m feeling another good show coming on. I hope you will join us for tonight’s performance Remember Me!”

The day after the big snow storm (Feb 11), dancer Abby Silva Gavezzoli says:
“so, thank you to all who showed their support last night in the blizzard! the show was great and julie blume is an inspiration! today we dance for the kids! bring it on! dig it out, cause we are dancing and singing come rain, snow, hail, or blizzard! 2 show day! i’m ready!”

Today (Feb 9), we hear from dancer Julie Blume:
“I had a great day off yesterday. I tried acupuncture for the second time in my life, finally did laundry that had been accumulating for an unfortunate length of time, watched a movie, and had a burger for dinner (acupuncturist’s orders—who doesn’t love that?). I’m looking forward to doing Caught tonight before Remember Me, however my ankles aren’t quite as enthusiastic about it. I hope you enjoy the show!”

WQXR radio recently launched Q2, a new home for new music. The internet station features a 24/7 hand-crafted playlist of contemporary work that highlights our local New York City new music scene, but also embraces new music from around the world. As they describe it, “It’s an inclusive online playground for listeners of all stripes, a home for bloggers-in-residence, a home for ambitious and indulgent music festivals, and a way to compile and share the diverse multimedia elements that characterize our world.”

What interests us specifically is Nadia Sirota’s “Dance Music.” This week from 12-4am and pm, Nadia considers the fruitful collaborations between music and dance and asks would all music benefit from movement? Tune in to hear some of the, “amazing collaborations between music and dance since Classical Music’s inception: Baroque dance inspired Bach, the choreography to Stravinsky’s Rite of Spring incited riots, John Cage and Merce Cunningham made amazing, revolutionary art, Meredith Monk refused to identify herself as exclusively dancer or composer.”

Celebrate all the ways that music and dance interact!
http://www.wqxr.org/programs/nadia-sirota-q2/