Tonya Plank

Author, Dancer and Public Interest Lawyer


Monthly Archive for April, 2008

More Thoughts on Sean Bell

Here’s a brief OpEd piece I wrote on the trial. Please feel free to comment on Huffington too if you wish :) — if you can figure out how to log in… I can’t stop thinking about the case; there’s so much to say, so many different aspects from the legal issues at trial, to all of the individual people involved, to the larger social issues…

Here’s another perspective that focuses on the legal history of officer acquittals. On a not unrelated note, here’s an interesting article about race and the death penalty. Thanks to Capital Defense Weekly for both links.

Jose DeCamps and the Top 5!

So, eliminations went as I expected. I don’t really think people declined to vote for her because of last week’s histrionics; I think it was that she was just the least good left. Plus the others all have very likable personalities, each his or her own idiosyncratic strengths and charms. I’m glad Cristian is continuing, but worry about his safety. He’d just better not use that arm too much.

Very glad they changed the lift policy! Most of them were accidents anyway — e.g. Edyta’s yesterday; I think her foot was meant to trace the floor, but Jason straightened his back and got too much speed on the swing and she went too high and it came off the ground. Shows the ridiculousness of the no-lift policy anyway.

Def Leopard was such a trip down memory lane. I remember seeing them in concert, before the drummer lost his arm! And how happy am I that Jose and Joanna performed! I just love Jose; he moves like no one else. I thought the group Paso to the first song didn’t really fit thematically — the song is sexy in a kind of a laid back, stonerish way — the antithesis of dramatic Paso. The Cha Cha was perfect.

I was kind of disappointed with this season’s Dance Center. I guess there was nothing big to rib the dancers over, so they made up (I hope) that segment about Jason farting. I enjoyed the facial expressions — Mark’s and Cristian’s – -something you’d never notice if they didn’t point it out. Well, you wouldn’t have noticed Mark’s anyway… :)

So, the top 5 are Marissa, Jason, Kristi, Mario, and Cristian. My vote’s with Jason, despite the (fake please) flatulence.

Kirov Review Up

My review of the Kirov’s Forsythe program is up on Explore Dance. Since I’m new to Forsythe’s ballets, I mainly focused on his choreography, rather than the Kirov’s specific interpretation of it. I’m interested to know if people have different thoughts.

Marissa Does Exemplify What The Comp is About: Dancing With the Stars Week 7

I really liked Marissa this week. I agree with Len that her opening Tango was her best dance yet. She had fantastic, sharp lines, perfect frame, never lost connection, lovely Argentine hooks, and great character — it was passionate with, as Bruno said, “a hint of disdain.” Carrie Ann said she’s what this competition is all about and I agree with her — she’s improved greatly, she’s working hard, pushing her own boundaries, testing her limits, really getting into it and making it her own while remaining true to the dance style. As for her rumba: I love the song “Cuando Cuando Cuando” :) It wasn’t as good as her tango; she didn’t do hips, but at this point, I’m no longer expecting them — from anyone. Even though her technique was far from perfect and the moves were mostly basic, I thought she gave her routine great character — there was a lovely romance to it and it was sexy in parts. I love the ending full dip, especially when she dropped her head down all the way to the floor. Dramatic but beautiful!

Poor Cristian. I hope he’s okay. I could tell something was off though from the beginning of his Samba. He seemed confused throughout; I thought he might have forgotten his steps, but as it turns out, he’d hurt himself. I wonder how. He must have caught her weird or had too firm a hand-hold, because it’s more common to pull a leg muscle in a dance like that. Anyway, his Viennese Waltz was nice, but I agree with the judges that it was a little too lacking in control. But I thought it was pretty and romantic. I loved the ending where he spun her around, then let her go, then returned to her. I wonder if that’s where he hurt his arm, in that trick…

I didn’t like Kristi’s use of the umbrella in the opening of her Viennese Waltz. Too gimmicky and it detracted from the dancing. It was too much about that umbrella. Funny, but I thought her continuous chaine turns were gorgeous. I thought it was supposed to look out of control at the end, that she was supposed to kind of swoon, falling into his arms. I thought it was intentional! But the judges thought the chaines were messy and the “falling” into the dip was a mistake. And then, unlike the judges, I didn’t like her Cha Cha. It was cute, but I felt like it wasn’t enough about the legs, like Cha Chas usually are. She looked like she was trying too hard with the hips, shaking her butt, shaking her shoulders. I thought it lacked control and precision. But the judges felt completely the opposite, so it’s probably just me…

Mario’s Mambo was excellent, his Foxtrot not so much so, although it was fine. As Len said (I find myself agreeing with Len a lot), he’s not the most “elegant” dancer and the ballroom needs more definition and muscle control, but he’s still so much fun and he gives it everything he has and he really tries. It looked like they missed a hand-catch at one point, but they fixed it pretty quickly, so very professional. You could tell the pressure was on from being in the bottom two last week. His mambo will probably be enough to keep him from getting the boot this week. He really connected with the music, his flicks were good, his basic was perfect, great hip action — he’s got that down. What did Bruno say — “the devil was in your hips”? Only thing, he’s too turned in at points with his feet, which, for balletomane in me takes away substantially from the line — sorry I can’t help it! — but I’m trying hard to get over it :) Another great Karina costume.

I’m glad Shannon apologized for last week. I feel like the judges were a lot easier on her this week because of it though. Her mambo was cute, and her dress was gorgeous — she really looked beautiful! — but the dance didn’t look right to me at all. It looked like Paulina Poritzkova’s mambo from last season. She was bouncing too much. Her long limbs are a disadvantage for that dance in particular. And the running up and taunting the judges gimmicks at the end of routines are getting tired. Her tango was very nice though. She’s far better at ballroom than Latin — no hips to contend with for one thing, and Standard tends to look better on people who are tall and thin. Her footwork was good and solid, clean swift kicks and hooks, and Derek’s choreography was creative. I like that she slapped him and kept trying to take his hat; I loved the dramatic ending dip. She was like a silent film starlet, as Bruno said.

Jason had probably the two most different dances this week: the light, sprinty Quickstep and the heavy, drama-laden Paso. His legs weren’t straight in his opening splits jumps and it was noticeable and threw off the line to me. I know people like tricks, but dancers need to understand that you have to be careful about the line you’re making; it’s not just about doing something “big”. But the rest of the Quickstep was nice — he was light on his feet, the runs and little jumps were good, his lock-steps were clean and polished, and I liked the little Charleston Edyta put in at the end — cute! It looked like he was having a lot of fun, which is kind of the whole point for amateurs. The football theme — for him at least — of his Paso Doble was fun. I didn’t understand what role she had though — cheerleader? Opposite team member, but female? I just prefer straight Spanish-themed Paso; anytime someone tries to do something more original with it, it just doesn’t seem to work to me. But I love Jason. I love his enthusiasm, his diligence, and, mostly, I love his lack of pompous assery! He said something along the lines of how he can’t believe how ballroom has taken over his life; this is all he does, and he loves it — now he can’t stop! I definitely know the feeling… It does take over your life, it really does.

Oh, I almost forgot: I was alerted to Edyta’s newly revamped website with message board. It can be found here.

Akram Khan’s “Bahok”

(image taken from here).

Last night Ariel and I went to see “Bahok” choreographed by Akram Khan and performed by his company along with the National Ballet of China, at City Center. I’d never seen any of Khan’s work before and was intrigued by Apollinaire’s post reviewing his other program “Zero Degrees,” which I think might have been more to my liking. I felt “Bahok,” his newer piece was conceptually contrived, but the movement was stunning. Ariel liked it, but I kind of wished he’d have told the whole story through movement, leaving out all the rather cliched spoken word.

“Bahok,” the program notes state, is a Bengali word for “carrier,” and the dance is meant to “explore the ways in which the body carries national identity and a sense of ‘belonging.’” All from different cultures and dance traditions, the eight dancers spend the hour and fifteen minute dance interacting with, misunderstanding, and trying, at times desperately, to connect with one another.

The characters are all caught in what appears to be a train station, their trains all delayed indefinitely. Throughout, various words flash over the arrivals / departures screen, including “earth,” “air,” “fire,” “water,” “phone home,” “rescheduled,” “delayed,” etc. Oftentimes the letter and number combinations are just gibberish (at least to me). At the beginning a Chinese woman sweetly tries to befriend her neighbor, a white woman, who soon scares her away by telling a story, her voice escalating in desperation, about how she awoke from a rainstorm unable to figure out where in the world she was. She spends much of the rest of the dance crying out that she doesn’t know where home is for her, her desperate shrieks alienating just about everyone.

At another point a woman and man appear to be having a conversation with a customs agent who seems to want to confiscate one or both of their bags — it’s not clear whose, nor is the reason why.

At another point a woman falls asleep onto the man sitting next to her. He can’t seem to wake her up and shake her off, so he gets up carries her around the stage, she like a rag doll hanging onto him, not letting him go. It’s funny — and a physically amazing feat — but grows silly after a while… until they start to dance. He stands with his back to the audience. Her legs are wrapped around his head, only her feet visible to us. Suddenly, they both begin making movements with their arms, holding them out, waving them, palms flat and upward, then palms down. The way she is attached to him, her arms are down by his ankles, making him look like a many-tentacled creature.

I found the movement far more brilliant than the speaking. The dancer playing the woman desperate to find her home, the brilliant Eulalia Ayguade Farro, expresses her inner turmoil through movement more compellingly than I think I’ve ever seen such emotion expressed. She took my breath away as she threw herself to the floor, propped herself up into a handstand, spun on her head, jumped, crouched, ran, all the time contorting her body in various novel ways to express her pain.

Another favorite part is shown in the picture above, when a Chinese woman, Meng Ning-Ning, decides to entertain herself and her companions while they await their never-ending delays, by ballet dancing. She dances beautifully and her newfound friends recognize this, as, tourist-like, they snap pictures of her. Another girl tries to join her, emulating her, following her patterns. Soon, an Indian man, Saju Hari, passes by and Meng throws herself into his arms, taking him on as a partner. He has no idea what he’s doing but he gamely tries to do as she wishes, catching her, spinning her, walking her around in a ballerina promenade. It’s hilarious watching this exquisite ballerina be partnered by a seemingly regular guy. Suddenly he wants to show her what he’s got, his dance style. The music changes, he stands in front of her and makes a shape, legs spread, in a deep lunge, very martial-arts-looking but with an Indian flair. In its sharp contrast with her delicate, feathery movement style, it’s jarringly beautiful, which to me is ultimately the point.

Sean bell verdict protest

Sean bell verdict protest

Originally uploaded by swan lake samba girl via mobile.


One final pic of today’s protest outside courthouse.

Sean Bell Verdict

Thank you thank you thank you, Michael Wilson, for posting a full transcript of the verdict in PDF form on his NYTimes City Room blog! It’s the next best thing to being allowed in the courtroom!

In case it’s not permanently available, I’ll quote and paraphrase in pertinent part.

First, regarding the unit’s presence at Kalua Cabaret, Justice Cooperman said:

“Because establishments known as “strip clubs” often generate criminal activity including prostitution and narcotics, the Police Deptartment Club Enforcement unit was given the task of infiltrating such places and pursuing violations of law that would lead toward shutting them down.”

“So it was that the detectives charged in this case found themselves in the vicinity of Club Kalua in the morning hours of November 25, 2006.”

Later, the judge says credibility of the People’s witnesses was of paramount importance:

“The Court has found that the People’s ability to prove their case beyond a reasonable doubt was affected by a combination of the following factors: the prosecution witnesses’ prior inconsistent statements, inconsistencies in testimony among prosecution witnesses, the renunciation of prior statements, criminal convictions, the interest of some witnesses in the outcome of this case, the demeanor on the stand of other witnesses and the motive witnesses may have had to lie and the effect it may have had on the truthfulness of a witness’s testimony. These factors had a significant part in the People’s ability to prove their case beyond a reasonable doubt, and had the effect of eviscerating the credibility of those prosecution witnesses. And, at times, the testimony just didn’t make sense.”

Justice Cooperman found that the confrontation in front of the club between Coicou and the Bell group was heated, Coicou was perceived as having a gun, and that someone in Bell’s group said they’d take Coicou’s gun from him. Cooperman credited the testimony of Isnora and Sanchez and discredited all prosecution witnesses in finding that Guzman told someone to go get his gun.

Because of this, Isnora was justified in following Bell and Guzman, “two of the more active participants” the judge said, “in this heated confrontation.”

The Court also found, consistent with most of the witnesses, both prosecution and defense, that Bell’s car “sped away from its parked position,” hit Isnora, struck the police minivan head-on, reversed into a gate, and went forward again, hitting the minivan again. The incident “lasted just seconds,” and the “officers responded to perceived criminal conduct, the unfortunate consequences of their conduct were tragic.”

Because the defense was justification (self-defense), the People had the burden of proving that the defendants were not justified (acting in self-defense), which he found the People could not do. Thus, the defendants were not guilty of any of the charges.

Finding Benefield’s credibility “seriously impeached,” the Court said the evidence showed he was not shot while running.

Cooperman also found some of the defense testimony “not necessarily credible,” but, because the People have the burden of proof, that didn’t have the degree of significance as what he found to be the People’s witnesses’ contradictions and lack of credibility.

The judge also said his verdict didn’t touch upon any possible carelessness or incompetence on the part of the officers. Those are different standards of conduct, applied in a civil context, and will not be addressed here but “are left to other forums.” The detectives’ conduct simply did not rise to the level of criminality. Cooperman also said he did not consider either the Bell community or the NYPD as being on trial here, simply these particular detectives.

Sean Bell Shooting Trial Day 29: “What Are We All Going To Do; We Got Nothing Left.”

Despite arriving at the courthouse at 7:10 a.m., and being close to the front of the line, I didn’t get in. No one did. No one who wasn’t either a police officer, a member of the press (and not even they all were allowed in; apparently, if they had a colleague inside as no two reporters from the same media outlet were admitted), or a family member or friend of someone on one of the sides. It really annoys me because I have been there every single day — more than I can say for most of the press — and one of the most disturbing things about this case is how absolutely deficient the press coverage has been. Most reporters go for the flash, for the sensationalistic, without bothering give their readers or viewers the nuances of the testimony or anything even approaching in-depth analysis.

So, I really would have liked to have heard for myself what exactly Justice Cooperman said. The best coverage of the case has been by Michael Wilson of the Times, so according to him, Cooperman gave a brief recounting of the events of the early morning of November 25th, then said he found the three detectives not guilty of all counts on grounds that the People’s witnesses’ testimonies was unclear, confusing and conflicted with each other, and that, from the perspective of the officers, they reasonably believed deadly force was about to be used against them and so were justified in firing. It’s not clear from Wilson’s report whether the judge went into any detail in his verdict on the reckless endangerment counts for all of the bullets that pierced cars, a fence, a home window, and a crowded Air Train station.

About ten or so minutes after 9, a reporter came running out of the courthouse, down the steps. I knew this meant he had the verdict. We all waited silently while he gave the word to a spokesperson who shouted out to the crowd, “Not guilty of all counts.”

People immediately began chanting “fuck the police.” A woman cried. Another woman screamed, “not guilty of anything? Nothing?” But the crowd didn’t get out of control. A man was very angry at our new Governor Patterson for appearing to be more interested in talking to the press about his sex life than serious racial issues, and was disappointed that neither he nor Mayor Bloomberg were at the courthouse. Another man said he believed the mayor was in cohoots with Cooperman as evidenced by all of the talk about increased police presence in Queens and throughout New York following the verdict. Mayor Bloomberg, he concluded, must have known what the verdict would be. He also said he couldn’t believe black attorneys were representing the detectives:”That just shouldn’t be; it’s just wrong.”
Another man told a reporter he was there because this could have happened to his son, now 12. He came out to “let society know, let Bell’s family know we feel your pain.” That same man later turned around and throwing up his hands, exclaimed to a fellow bystander, “look, people can’t leave because they can’t believe it. What are we all going to go out and do? We got nothing left. We’re Americans; we were born here and we got no rights.”

A large crowd converged around the Bell group — which included Guzman, Jean Nelson, Johnell Hankerson, and others — as they left, but I was too far away to hear if anything was said.

As I was returning to the subway, I saw a man lying in the street, surrounded by all of two people. One woman was trying to pull him up. He looked injured. There seemed to be about a million police officers around, but no one helped the man. And the police formed a human barricade blocking the street from the sidewalk, so passersby couldn’t go out and help him. I watched though as he eventually got up, dusted himself off, and with the help of the woman, walked on. I just saw him on the news in a crowd of people appearing to be shoved around.

A group from Sean Bell’s church walked up and down the sidewalk singing a hymnal.

A lot of people were yelling at the uniformed officers guarding the courthouse, picking out black and Latino officers and calling them “sell-outs.” Apparently one of the officers gave a dirty look to one man, which really set the man off. “Who the hell do you think you are, giving me that look? You got some damn nerve,” he yelled. One man told a ruddy-complected white officer he was going to get skin cancer if he spent any more time out in the sun like this. The officer just smiled and shook his head.

A very young white man came up to me and handed me a copy of a newspaper called “Challenge,” which the subtitle says is “the revolutionary Communist newspaper of the Progressive Labor Party.” He told me he was saddened that there seemed to be more press people there than organizers for change. “I can’t believe the low turnout. Only the Black Panthers are here,” he said.

Anger at absent governor and mayor

Anger at absent governor and mayor

Originally uploaded by swan lake samba girl via mobile.


T-Mobile

Fuck the police people r chanting

Fuck the police people r chanting

Originally uploaded by swan lake samba girl via mobile.


T-Mobile

Not guilty on all counts

Not guilty on all counts

Originally uploaded by swan lake samba girl via mobile.


T-Mobile

No spectators allowed

No spectators allowed

Originally uploaded by swan lake samba girl via mobile.


It doesn’t appear they are letting non family in courthouse.

Nervously awaiting sean bell verdict

Nervously awaiting sean bell verdict

Originally uploaded by swan lake samba girl via mobile.


It’s packed. News vans take up 2 blocks.

Cedar Lake Contemporary Ballet’s “Glassy Essence”

Last night Cedar Lake Contemporary Ballet invited dance bloggers to a preview of their new installation work, “Glassy Essence.” I don’t have a lot of time to write, so this post is going to be picture-heavy:

“Installation,” as you can probably see, means you, the patron, walk around the area watching the dancers. Cedar Lake’s large garage space in Chelsea is ideal for this kind of dance, which takes place in various parts of the space. You walk around and choose what to focus on, although, for the most part, there’s only one dance taking place at once so the choreographer has already kind of led you to home in on a particular aspect of the performance. This is a contrast to the company’s last installation piece, in which there was a great deal going on at once, and you had to choose what to watch. The dancers make good, full use the space and will interact a bit with the patrons, weaving in and around you during the performance. It’s nice because you can get pretty close to the dancers, so, unlike sitting in the balcony or a high ring at a huge opera house, you have a more close, personal connection to the dance. Plus, the music is very percussive and rhythmic and makes you want to dance yourself! It’s a very interesting experience, and unlike typical concert dance.

Tickets are $10 and the 45-minute performance runs April 24-26 and May 1-3 with performances at 8 and 9 each night. Go here for more information, as well as some cool videos of the piece.

It’s nice of Cedar Lake to do this — host these little parties for bloggers. I wish other companies would do the same, or at least have a little social after the performance where you can stand around with a glass of wine chatting with your friends about what you just saw. A few of us went out afterward and we were talking about how dance is inherently social; the way most performances are structured, you have very little time to chat with your companions. Intermissions are short — just long enough to go to the bathroom — and then everything shuts down right after the last curtain call. But it prolongs and enriches your dance experience to be able to talk about the performance. Anyway, thank you to Cedar Lake for a nice show and a good time :)

By the way, here’s Tony Schultz from the Winger, sporting a great new hairstyle! I’m always ribbing him about how different he looks from his Winger headshot. Hehehe, people don’t even recognize him in public!

For more detailed write-ups of the evening, see Philip’s and Evan’s blogs.

Dostoevsky Ballet, Interview With Pasha, Akram Khan, and Dance Schools for Autistic Kids?

Just a few random things:

Here’s an interview with Pasha Kovalev (thanks to Sharon for the link);

There’s a ballet just opening in London that is inspired by Dostoevsky’s many changing drafts of “The Idiot”, and stars Carlos Acosta, which sounds really interesting (via Maud);

And this looks fascinating!

Also, a friend of mine teaches autistic children and wants to know if there’s a dance school, preferably in Manhattan or Brooklyn that caters to special needs children. Does anyone know of one?

I Love You, Colson Whitehead

Mr. Whitehead, you’ve made me cry uncontrollably and now you make me laugh hysterically.

What is up with this ridiculously over-long memoir moment anyway? I don’t care that they’re all turning out to be fake — it’s completely understandable to me that they’re made up — life just doesn’t happen well-plotted and with the perfect dramatic arc that editors demand and audiences desire, and it’s certainly not as over-the-top as the public for lord knows what reason needs to believe. What upsets me is that I don’t understand why people right now are so untrustworthy, so disrespectful of the artistry of the novelist.

Austin & Liza on Dancing With the Stars!

Hehe, weren’t Austin and Liza cute! (the second young pair). I was so excited to see them on the show. They used to dance at my old studio and I feel like I kind of saw them grow. I highlighted them in last year’s Dance Times Square showcase here. I particularly love Austin. I think Liza is growing too fast for him and it’s difficult for him to keep hold on her, but he is an absolutely brilliant mover himself. I’m not surprised the other couple won — they were technical perfection and stylistically beautiful. This is why it’s so hard to become good, or at least do well at big comps, when you’re starting as an adult. These are the kinds of people — when they’re grown — that you’re competing with. It’s just like ballet — ballroom dancers also start as little kids; if you ever want to be a pro, or an advanced amateur, you had to have started at that age, there’s kind of no catching up as an adult.

I totally understand how Shannon felt when she cried. It can be so aggravating when you’re trying so hard and putting everything you have into it and you just get ripped apart (in my case by my teacher, in hers before millions by judges). I did think they were way too harsh on her. She had hip problems, but so did most of the others. Kristi did a lyrical hip-less rhumba last week, so give Shannon a break! I’m glad she ended up making it.

No way, Mario’s in the bottom two??? I didn’t expect that at all.
Well, I guess we were all expecting it would be Marlee this week. I’m so sad. I still feel that they could have done something yesterday to help her with the music — if there was anything they could do?… I don’t know, I just feel like the show kind of failed her in some way. I am happy Cristian made it one more week.

New Howard Zinn Book … and Movie

For people (like me) who like historian Howard Zinn, he’s got a new book coming out, this one a history of the U.S. in graphic novel form, which will be followed by a movie, starring, amongst others, Ben Affleck. Thanks to Maud Newton for the info.

“If You’re In the Bottom Two Next Week, I’m Showing My Bum at the Supermarket”

After Len said this of Cristian, Carrie Ann said of Mario and Karina, “that was better than good sex!” — this show is getting out of control… and the other judges are stealing Bruno’s one-liners!

My two thoughts up front: Whoa Cristian! And Kristi was born with clubbed feet???

I thought Jason was excellent at Hip Hop — excellent! I thought wow, he’s really improving. But then when it came to the Cha Cha, it was fine and cute but nowhere near as good as that Hip Hop. It just shows you how hard ballroom dancing is — especially Latin with all that hip action. It’s hard! Jason’s so cute with his self-deprecation. That face he made when Len told him he wanted to see him actually dance more. Then, the “I suck.” Aw!

The Shannon and Derek at the beach so she could ‘get in the mood’ was almost as corny as Cristian and Cheryl’s visit to the sea lion shrink. But I thought Shannon did much better this week. The hips were screwed up during the traditional Latin opening out steps, but she has a ballet body — tall and thin and few curves, and if he gives her more balletic moves — like that gorgeous slow ronde de jambe en l’air in the beginning and that beautiful stretch near the end– she’ll do much better and the lack of hip action won’t be so noticeable.

Poor Marlee! I actually didn’t think the whole thing looked forced, only parts. The worst was the pelvic rolls with him standing behind her. They may not have been connected at the start because she seemed off on the rolls at the beginning, and until she caught up with him, she looked uncomfortable. And that can be a really rather funny (in a bad way) move to look uncomfortable with! But I thought the shoulder shakes were much better — she really seemed at ease with those and really let loose. I thought the basic mambo steps were fine; the hip action wasn’t quite there, but I disagree with the judges that they looked stiff. It is really hard not to be able to connect with the music in this most rhythmic, musical of all ballroom dances. I was hoping she’d be able to connect through other means than simply her partner — maybe floor vibrations she could feel through her feet? Maybe she should have been barefoot? Sorry, I’m just remembering Helen Keller’s telling an audience she could hear their applause through the floor… Anyway, I feel for Marlee and I hope she can re-gain momentum for next week. The judges were too harsh. Fabian was most pleasing though, no?!

“You can just call me Frederico Astaire.” Cristian is so cute. He was wonderful this week. I couldn’t believe it. The water actually helped him this time — the swimming was a good idea on Cheryl’s part. The water slowed those crazy, out of control arms way down. He was, as Bruno said, the perfect dashing gentleman, the way he glided over that floor. His footwork was excellent, not a step out of place, even on those fast intricate grapevines in the beginning, his partnering was perfect, his posture and lines were even good. I do agree with Len — he’d better not be in the bottom tomorrow night!

Wow, I get ridiculously dizzy too; I wish my teacher would have sent me to an aerial spinning class like Tony did Marissa. It looks like they helped. Maybe I’ll look into one. Seriously. Marissa looked really good tonight. She did a couple of lovely arabesques and the ending floor sweep was beautiful.

Kristi was perfect, as always. She really is a pro out there — not even like a pro, but a real pro. Mark is so lucky because he can choreograph the exact same kind of routine he’d do for himself and a professional partner; he doesn’t really need to search for specific strengths to highlight and weaknesses to hide. That was I think the first Jive ever on this show to be danced at full speed, and he gave her some really intricate, complicated footwork. She’s really the best, by far, no competition. But a commenter on one of my Huffington Post pieces said the fact that she was so perfect up front, that she had dance background, ruins it for her. If someone you can connect to because they, like you, are not a star from the get-go, and they can, with practice, be made into a dancer, that makes it possible for you to as well. Kristi is already basically a pro, so it’s not fun to watch her try and struggle the same as the average person would. It’s an interesting perspective on the show.

Mario’s routine was near perfect, but I kind of agree with Len that it was a bit too much about the sex and not enough about the dancing. Before Len made that comment, I had thought, hmmm, very sexy rhumba, but he’s not really doing a whole lot of moving. I don’t think I would have used the same words as Len though — strumpet and gigolo? Eeeh.

The group routine: those were the funniest practice lifts I think I’ve ever seen. I’m surprised Derek didn’t get hurt on that rotating cartwheel. I actually took lessons with Christian Perry, the guy who’s teaching these group dances. He taught at my first studio DanceSport, so it’s always so funny to see him on TV. I think I actually preferred the practice sessions to the actual performance though. All the lifts were the same and it seemed there was more unstylized jumping about than actual dance steps; it was more fun watching them all try to learn.

The Kirov’s Dramatic Balanchine


(photo of “Rubies” by Andrea Mohin, NYTimes).

Russians are such great dramatists; they make everything they can out of everything they do, and the effect is so moving, so exciting. Yesterday marked the end of the Kirov Ballet’s 3-week stay in New York. They left on a huge bang, performing three of George Balanchine’s most revered works: the beautiful “Serenade,” the first ballet Balanchine made after his emigration from Russia to the U.S.; “Rubies”, Balanchine’s tribute to American-style ballet; and “Ballet Imperial,” his homage to the grand ballet traditions of Imperial Russia.

Probably because of the trial, stupidly, I got a bit teary-eyed after “Serenade” (the only time I’ve ever cried during a dance performance was seeing Alvin Ailey’s Revelations not long after 9/11; I’m not a crier … I do wonder what Serenade would look like on Ailey. Hmmm. I don’t think that company has enough women though…).

I’ve written about this ballet before, but this is the first time I’ve ever seen it so dramatic, so acted. Balanchine famously created it as practice for his students, and as it took shape it evolved into this beautifully poetic work. Costumed in sky blue, diaphonous, floor-length gowns, the “students” become angelic creatures as they proceed from parallel-footed to turned-out position, and practice leg work, then port de bras. Though one of Balanchine’s many story-less ballets, you still sense a narrative there, and these dancers locate it and tell it to its fullest. When a student arrived to class late, Balanchine worked that into his choreography. But this student, Victoria Tereshkina, doesn’t just run into the midst of things and take her position; she’s late for a reason. She’s very distressed, very emotionally shorn. Perhaps she’s just been in a horrible fight with someone, a lover? She tries to work through her pain during practice, but it’s no use, until a male dancer, Yevgeny Ivanchenko, arrives and takes her out of her pain for a time as they waltz around the floor.

She gets so caught up in him that after he leaves, upon exiting the stage behind the other students, she faints, falling to the ground in a dramatic heap. Interestingly, here is where, when the New York City Ballet performs this ballet, the ballerina lets her hair down, her long (usually blonde) flowing hair now lying in a pool around her. When other ballerinas enter stage, they now have their hair down as well. To me, this signfies the “ballet class” portion of the ballet is over and the real drama has begun. But here, all of the ballerinas kept their hair in taut buns.

The “dark angel” enters, her hands firmly clasped over the eyes of the male dancer in front of her — the character who I’ve always called “blind justice” but who here is called “Elegia,” who makes his way to the fallen girl, to rescue her soul, which, by the end, he does. Ekaterina Kondaurova was breathtakingly beautiful, and full of mystery, as the dark angel, and Alexander Sergeev (who performed in just about every piece I saw both by the Kirov and in Diana Vishneva’s “Beauty in Motion” program) danced with great sensitivity and understated pathos.

Next on was “Rubies” (pictured at the top of the post), Balanchine’s homage to what he viewed as the America dance tradition, with all of its jazziness and sass and show-girl-esque charm. I’ve written about that ballet in detail here. I LOVED Olesia Novikova, who danced the female lead of the main pas de deux, not so much with flirtatious sexiness — that was left to Ekaterina Kondaurova as the main vixen-esque ballerina — but more with cute, charming playfulness. She and her beau, Vladimir Shklyarov, equally playful, acted off of each other, regarding each other quizzically, mischievously, tapping each other on the shoulder, before launching into their competing solos. Kondaurova also played off of the actions of her ‘men-servants’ as one of four danseurs surrounding her lifted her leg into a lovely arabesque from behind, causing her to bend down, her chin nearly falling into the palm of another man, facing her and down on one knee ready to receive her blessing. But the way she looked at him, her eyes harsh and squinting, you didn’t want to be that man! And yet it was cute, it made everyone laugh.

I just love how these dancers gave everything they did a reason; though these are all story-less ballets, the intentions behind the dancers’ eyes, their focused gazes, drew you in to their world and brought that ballet to life.

Last on was “Ballet Imperial,” which I’ve written about here. I realize this is one of Balanchine’s masterpieces, but for some reason, it’s never done a whole lot for me. As a tribute to the grand balletic traditions of his homeland, I much prefer the “Diamonds” part of “Jewels.” Ballet Imperial is very pretty though. It was supposed to be danced here by prima ballerina Diana Vishneva, but for reasons not explained to us, was danced instead by Uliana Lopatkina (correction: it was Alina Somova — thanks Susan!), whom I thought turned out to be just radiant. I didn’t mind not seeing Vishneva, since she’s also a principal with American Ballet Theater, so I can see her all summer long (plus, I had errands to run afterward and didn’t have the time for a 10-hour curtain call :) ), but there were a great many “ooooooh nooooo’s” in the audience at the substitution announcement. I felt badly for Somova — how’s that for a welcome?!

Anyway, I will miss the Kirov. They brought Balanchine to life for me and gave me a chance to see a full evening of works by American expatriate, William Forsythe. I hope they return to NY frequently.

Dance in America’s Great Outdoors Special on PBS Monday Night

Tomorrow night (Monday, April 21), PBS is airing a dance special honoring America’s national parks. Several choreographers made site-specific dances which were performed in various outdoors national monuments including: Yosemite National Park; the U.S. Virgin Islands; the Coral Reef National Monument off the coast of St. John Island; Kitty Hawk, North Carolina, from which the Wright Brothers first took flight; Mammoth Cave; and Hawaii’s Volcanic national park.

I was fortunate enough to be given an advance preview. My favorite parts were the U.S. Synchronized Swimming Team performing underwater amidst the beautiful corals and exotic sea life of the Virgin Islands, the dancers often looking like tantalizing sea creatures themselves; members of Donald Byrd’s troupe performing dances evoking freedom and slavery set first on Cinnamon Bay, Virgin Islands, then in ruins of an old Sugar Plantation on St. John’s Island. I also liked the very end, Doug Varone’s troupe dancing to folk music in the Mammoth Caves. Varone uses film and video in his productions as well, to good effect. I also loved seeing the footage of the Hawaiian volcanic beaches — breathtaking. And Project Bandaloop (whose dancers perform airborne activities, often while climbing large mountainous rocks), whom I know other bloggers like, is included as well.

Overall, I felt this program, which is 90 minutes long, gets bogged down in too much discussion of process – the choreographers trying to figure out what they want to evoke, how best of evoke it, instructing the dancers on the same, the dancers telling us how best they feel they can draw something out, how difficult it can be to do so — it’s too much, and it gets boring and ruins the magic of the performance. Anyway, it’s worth watching for everything I mentioned above even if it gets tedious at points. And since it’s not on until 10:00 (ET), it won’t interfere with Dancing With the Stars :)

Check here for local listings.

Sean Bell Shooting Trial: What Will Happen to the Detectives If They’re Acquitted?

A couple of friends I made during the trial (two young women getting their PhDs from John Jay College of Criminal Justice) and I were just discussing this the other day: if the detectives happen to be acquitted of all or the top homicide counts, what will happen to them? Would they be able to keep their badges and go straight back to regular duty?

So I was happy to see that Michael Wilson, my favorite official news reporter who covered this case, answered just that question in his NYTimes article yesterday. Apparently, they could still be brought up on departmental disciplinary charges within the NYPD, and if found guilty, would be fired, or they could even be prosecuted federally. According to Wilson’s article, chances of both are slim, since such proceedings are usually brought against officers accused of brutality toward inmates already in custody. But if the fate of the officers who shot and killed Amadou Diallo is any indication (Diallo was an unarmed male immigrant from Guinea whom officers, who were acquitted, shot 41 times, mistakenly thinking he was reaching for a gun), Isnora, Oliver and Cooper would likely be assigned desk duty and have their weapons taken away. One officer from the Diallo case is still trying to be re-assigned to street duty and regain his weapon privileges; the other three officers have left the force.

Anyway, it’s an interesting article. Read it here.

Packed in the Park

Yesterday was the first very warm day here in NY, so I spent much of it in Central Park. Here are some pics:

Unfortunately it’s cold again today…

Step it up and … Finally … Dance!

Finally, for the first time last night, I liked the new Bravo show “Step It Up and Dance.” I felt like it was finally about dance. The camera actually showed me the dancers’ bodies, not just their faces as they made angry or odd expressions or ranted against someone. It’s probably the hip hop — hip hop’s just so visual, there’s so much going on, especially in a showdown / battle like that — the camera can’t just focus in on a face. (I have to admit, by the way, I knew next to nothing about hip hop before “America’s Best Dance Crew.” And now I love it. Hip hop is just so real — they’re real moves, real gestures you see on the streets, they resonate. And yet they’re stylized and clever, and at times played up for comical effect.)

Anyway, I still think this show (Step It Up) panders too much to the gossipy judgmental crowd: “oh I can’t believe he’s so gay,” “I can’t believe Miguel is such a jerk,” “I can’t believe she said that,” “I can’t believe he nominated him for elimination” etc. etc. etc. ad nauseam. You end up just judging people based on their personalities, what they say rather than how they dance, which you can’t see anyway because the camera is too busy homing in on the person’s face while they say something nasty. I know audiences vote partially based on personality on all reality shows, but at least with “Dancing With the Stars” and “So You Think You Can Dance,” you can see the entire performance. You see the bodies moving in time to music — which is dance. You’re not just getting a personality. Last week I began to like Tovah. I thought she made a really beautiful line at one point, but the camera was on her for all of a half a second before shifting to Nick who was busy making angry faces at Cody for dominating; I couldn’t really see Tovah in full and it annoyed me so much. I thought, this show isn’t even pretending to be about dance.

But as I said I felt that changed this week with the hip hop competition. I liked Tovah even more because I know her background is in ballet and she feels really out of her element with hip hop, and yet she really belted it out last night. To me she looked just as good as Janelle. I’m also impressed with Cody, for the same reason. He also had some really unique moves, combining some balletic movement — leaps and fouettes — with the posturing, the attitude, the awesome floor acrobatics of hip hop.

So Natalia was right in telling me I should give the show another chance!

Also, if you live in New York, Chicago, or Los Angeles, it looks like you can take a class at select Crunch gyms that will focus on the dance moves on the show that week. That’s kinda cool!

Tonight is the finale of Lifetime’s “Your Mama Don’t Dance.” I’ve missed a few episodes but am going to try to tune in.

Kirov, Forsythe, and Alvin Ailey Outdoors

(photo from Apollinaire Scherr’s Foot in Mouth review)

(photo by Andrea Mohin, from Roslyn Sulcas’s NY Times review)

Last night I went to see the Kirov Ballet (based in St. Petersburg, Russia) currently performing (through this weekend) at New York’s City Center. I chose to see their all Forsythe program, since I haven’t seen much Forsythe, particularly his ballets. William Forsythe is a postmodern American choreographer who moved to Germany after poor reception to his work here. I’ve seen only a couple of his works, both of them recently made, which I wrote about here and here.

Anyway, I loved it! I’m reviewing the program for Explore Dance and I’ll link to my review once it’s up, but I love how Forsythe challenges the boundaries of both performance and ballet. Space-age looking tutus, classical movement that looks ever so slightly off-kilter, theater lights going on and off and curtains falling throughout the performance, classical poses intertwined with postmodern, harsh yet rhythmic music, dancers taking the stage to talk with each other and practice dance phrases all the while before an actual audience, ballerinas appearing to lift themselves, their men seeming to work against rather than with them, fast jumps and virtuostic leaps taken to their allegro extreme… Plus, I loved Elena Sheshina. It was mesmerizing simply watching her “practice” her routine over and over and over again. And it’s always a delight to watch shaggy-haired, deliciously mischievious-looking Mikhail Lobukhin (here he is dancing) (and in bottom photo above), and the liquidy Alexander Sergeev, whose limbs flow like water.

Afterward I walked down 55th Street to the Alvin Ailey studios to see filmmaker David Michalek’s latest installation, of slow motion videos of the Ailey dancers.

Here are Clifton Brown and Renee Robinson dancing a duet. Interestingly, unlike in his original Slow Dancing films, dancers are shown performing pas de deux. The problem is that the screens are much smaller than the huge Lincoln Center ones, and they seem to be suspended on the inside of the building behind a series of smaller windows, so the dancers oftentimes are not fully on screen, but are partly obscured behind the window frame. Still so much fun to watch your favorites in slo mo!

Here’s Matthew Rushing.

And here is Clifton again with I think Linda Celeste Sims.

It was cold so I didn’t stay long enough to see all of them. But I will defintely be back throughout the summer!

Sean Bell Shooting Trial Day 28: “The Road to Hell is Paved With Good Intentions”

I’m sorry for this insanely long post, but this is what happens when lawyers talk for seven hours straight: you end up with an entire legal pad — both fronts and backs of pages — full of notes. Ugh. I’ll try go focus on just the highlights of the lawyers’ summations.

I just want to start off by saying big kudos to prosecutor Charles Testagrossa for delivering a very moving summation. He’s been criticized throughout the trial for being too lenient with the defense attorneys, not objecting enough to their cross examination of his witnesses, not putting forth strong enough evidence on his direct case, etc. So, I felt it was really important for him to give a powerful closing that showed he was doing everything he could to prosecute these officers. And he came through on that with flying colors. People were talking about how inspiring it was on their way out of the courthouse, people were crying in the restroom afterward … it was a perfect end to an emotionally fraught and hugely important case.

And of course much of his summation was directed toward the courtroom spectators, the family and friends of Sean Bell, and the press and, through them, the larger public. Actually, with the exception of Detective Michael Oliver’s attorney, James Culleton, all of the attorneys focused little on the actual law, or even the evidence, figuring, rightly so, that Justice Cooperman would be able to figure out all of that on his own. Rather, they spoke to the larger picture, and directed their arguments just as much if not more to the courtroom audience and larger public as to Justice Cooperman.

“Guzman Was the Only One With the Testicular Fortitude to Threaten To Use a Gun; It’s Because of Him That We’re Here Today.”

First to speak was Paul Martin, defending Detective Mark Cooper, who was charged only with reckless endangerment for the shot he fired that missed its target and wound up in the Air Train station. Martin’s initial proclamations set a good tone for the defense arguments:

“This trial is not about who’s a thug, about who was drinking, about who’s the best pole dancer in the city, about what part of Queens one is from (issues that at times have received a ridiculous amount of attention), and it’s not about a cold-blooded killing on Liverpool Street. It’s about whether the People have proven beyond a reasonable doubt the defendants acted recklessly.” With regard to Cooper, this means they must have shown his conduct created a substantial risk of serious bodily injury to another person, that he was aware of and disregarded that risk, and that such disregard constitutes a gross deviation from what a reasonable person — a reasonable police officer — would do under the same or similar circumstances. There was no proof Cooper grossly deviated from the conduct of a reasonable police officer in similar circumstances, Martin said.

Martin argued there was no direct evidence it was Cooper’s bullet and not Isnora’s (who also used a Glock handgun) that pierced the Air Train, though there was circumstantial evidence of such, since Isnora shot from the other direction. Even so, Cooper is entitled to every inference of non-guilt, Martin argued. Plus, expert Alexander Jason had testified that the bullet could have ricocheted off of another hard surface before ending up in the station, testimony which was unrebutted.

Even assuming Cooper did shoot directly into the Air Train, Martin continued, the People didn’t show that under these circumstances — Cooper’s hearing gunfire and seeing Bell’s back car window blow out making him think someone inside was shooting at him — he did not respond in a manner consistent with a normal NYC police officer. After all, Cooper acted reasonably with respect to Trent Benefield, not shooting him as he saw him running down the street, after assessing he had no gun and posed no threat.

Is a 14 degree angle a “gross deviation” Martin queried the judge. The prosector presented no one to testify that Cooper discharged his weapon in an unsafe manner, in a way that was inconsistent with his training as a police officer.

Turning to the rest of the defense case — the other reckless endangerment, assault, and manslaughter charges — Martin pointed out inconsistencies in the People’s witnesses’ testimony: Coicou’s trial statements that he never heard anyone say they were getting a gun but statements to the DA that he did hear someone say exactly that; Marseillas Payne’s claim that only one collision occurred which was at odd’s with just about everyone else’s testimony that they saw a total of three; Trent Benefield’s saying at trial he was shot while running and there was only one collision but his telling the police right after the shooting that he was shot in the car and there were three crashes.

But the most controversial part of Martin’s closing statement was with respect to Joseph Guzman. Detective Isnora didn’t follow Guzman, Martin asserted, because Guzman was black, because he was large, or because of the way he was dressed: every single man on the street that night was black and dressed in street clothing, and at least one other man — Jean Nelson — was a big guy too. Isnora followed Guzman because Guzman was the only man there to say, “go get my gat (gun),” and Guzman was the only one with the “testicular fortitude” and the confrontational attitude to go and use it, and Isnora recognized that. Martin reminded Justice Cooperman how Guzman fought with attorneys on the stand. In probably the most controversial statement of the day, Martin said, “Guzman’s the reason why we’re here today.” Mumbles spread through the courtroom and Guzman’s wife got up and walked out.

“Martin’s the one with ‘testicular fortitude’!” my friend said to me afterward. “I can’t believe he said that! It’s a good thing Guzman wasn’t in there then!” Guzman and the others did come into court for the second half of the day, for Testagrossa’s summation.

In conclusion, Martin argued that if Cooper was convicted, a dangerous precedent may be set: if a police officer may be indicted for recklessness for firing his weapon in a dangerous situation without both feet firmly on the ground, without both hands completely steady, he or she may hesitate, with fatal consequences:

“[If you say to these officers] next time wait until your hand is set and your feet are stable, next time wait until you are more balanced, well, next time you’re dead.”

“Dr. King said the moral arc of the universe is long but ultimately the truth will come to light.”

On to Anthony Ricco, Detective Gescard Isnora’s attorney, by far the most odd but interesting summation of the day. It was odd in that he spent much of the time talking about why he chose to take on the case and his own involvement with it and other black defendants. He began by saying, “It’s hard to find a starting place. I would love to just give you my notes.” “That’s a good idea,” Justice Cooperman joked.

Ricco was angry at the way the Jamaica community had demonized Isnora, at the way the press had characterized the issues in an overly simplistic way, at critics of the defense attorneys who were doing their jobs to the best of their ability. A lot of people, he said, tried to discourage him, a black man, from representing another black man charged with a serious crime. But that’s exactly what he does, he said, represents black men charged with serious crimes. He’s done lots of defense-side death penalty work in the Midwest and South, he said. People wanted this case to fit a script, he said. The last thing they wanted was for someone like him to stand behind someone like Isnora.

All of the defense lawyers acted professionally here. No one went scrambling to get before the cameras afterward, Ricco said, referencing (I think) civil attorneys for the shooting victims here.

Ricco lauded Jean Nelson, one of the civilian witnesses and a friend of Bell’s, calling him “the voice of reason” in a case fraught with inconsistencies; said he “broke rank to tell the truth,” and in doing so, “contradicted every proseuction witness called.” He loved Sean Bell but that didn’t prevent him from coming to court and telling the truth (Nelson is the only one to say he heard Isnora speak before shooting; what he heard was “Yo, let me holler at you.” Nelson also described the fight between Coicou and Bell and Guzman as being serious and fraught with danger, said that Coicou told Bell “I’ll shoot you,” that Bell said to Coicou “we’ll take that [gun] from you,” that Coicou had “an icy stare” and that Bell could be hostile when drunk, and that he was drunk that night. Nelson also said Isnora would have been “squashed” by Bell’s car had he not jumped out of the way).

Returning to his theme of how the press and Jamaican / Far Rockaway community had oversimplied the truth here, Ricco spoke about Isnora’s background. Isnora wasn’t exactly from an upper-class community and he certainly wasn’t white; rather, he grew up in Bushwick, a neighborhood not unlike that of Jamaica, where Bell, Guzman and their friends are from. But instead of turning to a life of crime, Ricco said, Isnora went to college and became a fighter of crime. Instead of selling crack, possessing firearms illegally, stashing guns in his car, spending time in prison, he works in the community putting his life on the line everyday so that community’s children don’t have to live in fear. And for this, Ricco said, for going to college (“which we don’t like”) the community demonizes him, says “to hell with you,” wants him to be deprived of solid legal representation.

Ricco contrasted Isnora with Trent Benefield, one of the shooting victims. Benefield, Ricco said, called Isnora in his taped interview with the police officers after the shooting, “a nigger with a gun.” (I didn’t hear this when the tape was played in court, but like I said before, it was very difficult to hear anything on it, or to see the words of the transcript on the monitor.)

They (meaning either the prosecution, the Jamaican / Far Rockaway community, or the civil attorneys representing Guzman and Benefield in their multi-million-dollar civil lawsuit against the NYPD) did their best to “dress up” their witnesses, Ricco said, in perhaps the second most controversial statement of the day. Trent Benefield, James Kollore, Johnell Henkerson, all showed up in “borrowed suits” and cried fake tears on the stand in order to arouse sympathy and make them look professional. (Those on the prosecution spectator side did not take kindly to this, understandably). The civil attorneys responsible for the multi-million dollar lawsuit, he said, did their best to make sure Benefield and the other civilian witnesses in Bell’s group fit a certain image. Ricco asked Justice Cooperman to juxtapose Benefield’s racist name-calling of Isnora and the images of Bone, Hugh Jensen, and Larenzo Kinred on the videotape of the scene shortly after the shooting, where they were pumping their arms at the camera, wearing do-rags, and talking about “burn” — slang for guns — with the images he saw of them in court, besuited and sedate.

Turning to the evidence, Ricco said it makes no sense that Isnora would walk up to Bell’s car and without a word, begin pumping bullets into it. He asked Cooperman to consider all the police officers who testified and Isnora’s character witnesses who said he was a highly competent, good-hearted, quiet, reserved man — an image sharply at odds with that propounded by the People’s civilian witnesses.

Fabio Coicou’s testimony was so riddled with contradictions and so nonsensical that the courtroom giggled and laughed throughout much of it, Ricco said. But is perjury really funny, he asked. Coicou’s testimony, Ricco said, was “designed to get a cop and make him pay.”

One truthful thing about Coicou’s testimony, Ricco said, was that he saw Isnora standing nearby, figured out he was a cop, and tried to so indicate to Guzman. Putting this together with Hugh Jensen’s testimony that Guzman said to him at that point, “take me to my bitch’s house,” Ricco argued that Guzman, no dummie, realized what Coicou was doing, saw Isnora standing around, and made the statement to Jensen in order to pull Isnora off his trail and make him think they were all leaving peaceably. Guzman, inexplicably walked to Bell’s car, when he’d originally arrived at the club in Henkerson’s car. Why didn’t he return to the car he’d arrived in, Ricco queried, before implying that, knowing Isnora was a cop and was following him, didn’t go to the car with the gun in it. Then, when he saw Isnora again in front of the car, realizing he hadn’t successfully got him off his trail, Guzman directed Bell to run him over. Ricco admitted he had no real proof of any of this, but this was one reading of the facts.

Much of Guzman’s testimony was belied by other facts, Ricco said. The ballistics evidence is inconsistent with shots being fired when the car was going in reverse, as Guzman said. Isnora’s belief that Guzman and his friends may be going back to Coicou was substantiated with Coicou’s seeing some of them down at the corner peeking back up at him. That fabric from Isnora’s pants was embedded in Bell’s car’s front grill shows that Bell’s car had to have hit him. And Guzman’s claim that he heard nothing from Isnora’s mouth was unbelievable when there were witnesses, such as Detective Sanchez, Mrs. Hernandez who lived nearby, and Mr. Rafael, who lived at the end of the block, who heard men shouting before the shots.

What else was Isnora supposed to do, Ricco asked. If he believed deadly force was about to be used against him and he had no cover, how else should he have acted? He told his boss, Lt. Napoli, what he’d seen outside of the club, and Napoli directed him to follow Guzman. Was he supposed to not follow his boss’s orders? Wouldn’t he have been incompetent and careless if he didn’t? How did Isnora deviate from the standard of conduct a regular police officer would have engaged in? What was he supposed to have thought as Bell’s car reversed and backed up at him, Ricco asked. When he shot, Isnora made a split second decision in a rapidly escalating situation. After Bell’s car had reversed and collided again with the police van, Isnora thought he saw Guzman reaching for a gun. It doesn’t actually matter, Ricco said, whether Isnora told the men in the car he was a police officer; it only matters whether he reasonably feared for his life.

(I have two brief things to say about Ricco’s summation: 1) he tried to bolster the testimony of Officer Carey and Detective Sanchez, by saying they have no reason to lie; they’re cops and they wouldn’t risk their careers over lying for a fellow officer. The prosecutor didn’t object, likely because there was no jury here, but there’s case law saying those arguments constitute improper vouching for police witnesses; you can’t use the police or prosecutor’s office to vouch for their credibility. And 2) he said all of the People’s civilian witnesses had prior convictions for violent felonies including gun possession offenses. I know right off the bat Trent Benefield didn’t have any priors at all, and I’m pretty sure some of the others had only non-violents or priors not involving weapons possession.)

In conclusion, Ricco said he appreciated the court’s indulgence in letting him go on at length, and that this has been a difficult case for everyone. He said some people were angry with his cross examination of some of the People’s witnesses. But this is his job, he said, and he takes it seriously. He stands between the accused and a mob who by definition don’t wait for the facts to come out. We need to give the process a chance and have faith that the partipants will be served.

Like All Criminal Cases This All Boils Down to Credibility

Compared to the first two attorneys, James Culleton, Detective Oliver’s attorney, gave a pretty bland summation, but one that most focused on the evidence. The prosecution had not disproven that the officers were “justified” (the legal term for self defense) beyond a reasonable doubt, he said. Instead, it had presented a parade of convicted felons, crack dealers and weapons possessors, in contrast to five officers who’d never before fired in the line of duty.

Culleton went through many of the inconsistencies in the People’s case: Benefield’s testimony that there was only one collision was belied by his telling the officers there were three. His testimony that he put his hands over his eyes after initially seeing Isnora and left them there throughout the incident was belied by blood belonging to him found on the front passenger’s seat headrest, which could only have got there by Benefield holding his wounded leg then grabbing the headrest. Benefield’s claim that he was shot while running was belied by Jason’s expert testimony that, because of the bullet holes in his pants, he must have been shot while sitting down. Nor did anyone state that they saw anyone shooting at Benefield as he ran down the block.

Culleton cited Gannolo’s expert testimony that the bullets fired into cars and windows and fences down the block had ricocheted from a hard surface before landing there, and Jason’s testimony that the bullet recovered from Mrs. Rodrigues’s lampshade had to have ricocheted there. Because the crime scene had no integrity at all due to the number of ambulances, medical and police personnel, and civilians running around the scene, none of the shell casings or bullets could be said conclusively to have landed where they were actually found — so the positioning of much of the ballistics evidence is inconsequential.

The trajectories of the bullets — all into the Altima’s front windshield or passenger side, belied Guzman’s claim that the officers were shooting as the Altima reversed toward the gate. Further, if the shots had begun while the Altima was in reverse, Culleton asked, why would Bell have driven back into the line of gunfire, instead of turning and driving in the other direction.

Culleton pointed out other witness inconsistencies. Though Marseillas Payne said she saw officers emerge from the police van and begin rapidly shooting, no other witness even saw her on that street. She said Benefield had intended to have Bell drive up to her car so they could tell her where they were going for food, but Benefield remembered no such thing. Larenzo Kinred said on Anthony South’s video of the scene that he’d seen everything, then gave an account of the shooting, but admitted at trial he was not on the block when the shooting happened.

After highlighting Jason’s testimony that Oliver could have discharged two magazines in only 12.3 seconds, to show how quickly it all happened, Culleton, echoing Ricco, asked, what should Oliver have done? He aided his fellow officer, Isnora, whose life he believed to be in danger and, on seeing what he thought was Guzman reaching for a gun, while Isnora yelled “he’s got a gun,” made a split-second decision to use deadly force. Culleton cited Jason’s testimony about the blow-back effect of glass, arguing that Oliver reasonably believed someone was firing from within the Altima when the window blew out at him.

This is a very sad case, Cullerton concluded, but not one in which a crime was committed.

The Road to Hell Is Paved With Good Intentions

As I said above, prosecutor Charles Testagrossa delivered a very moving closing argument. “Before we pin medals on these defendants for their heroism,” he began, “let’s look at the reality here. These officers’ supposedly good actions left one man dead and one seriously wounded, after a total of 50 shots in all were fired.” While the defendants argue the number of shots is irrelevant, it is not, Testagrossa countered. Are they’re allowed to just keep shooting until they run out of ammunition?

Isnora acted recklessly, Testagrossa said. The evidence shows that he never identified himself as an officer to Bell and Guzman. With the sole exception of Officer Carey, no one — including the civilian witnesses as well as Isnora’s fellow officers (Detective Oliver, Lt. Napoli, Detective Sanchez, and Detective Headley) heard him identify himself as an officer. And Carey’s testimony should be called into question, Testagrossa suggested, since Carey was on the side of the car farthest from Isnora — how could Oliver have not heard the words “police, don’t move” when Carey did?
Since Isnora didn’t identify himself (or, even if he did, the evidence suggests Guzman and Bell didn’t hear him or see his badge), this means that the men in Bell’s car were, rightly, trying to flee when faced with deadly force. This is what rationality dictates. What could they be expected to do?

Testagrossa argued that if Isnora was so concerned Guzman was going to do a drive-by of Coicou, he would have paid more attention to Coicou, he would have noticed that Coicou drove right past him, turned the corner, and drove on down Liverpool Street, leaving the club.

Because, according to Isnora and Oliver, the passenger-side window of the Altima was blown out early on, the two officers could easily see into the Altima, and could see that Guzman had no gun. And, the cars were directly under a working streetlight, Testagrossa said. They should have known there were no weapons in the car. More, had they paused to reassess, they should have seen the Guzman was no longer a threat after he began leaning toward Bell’s side of the car, lying down on his stomach, hands reaching toward Bell’s window, trying to escape the gunfire. The ballistics evidence — bullets recovered from Guzman’s clothing — substantiates Guzman’s testimony that he was trying to lean onto and lie over Bell in order to move as far as possible from the shots being fired at him.

More, there was cover available to Isnora and Oliver in the form of car engine blocks, both of the police van and the many other cars parked nearby.

Why did they fire, Testagrossa asked. Out of anger? The shooting didn’t begin until after the Altima hit the police van for the final time. So even if the officers perceived that the Altima had initially tried to run down Isnora, it was no longer a threat. Was Isnora mad at Bell for hitting him?

There was more force used here than anyone could reasonably believe to have been necessary, Testagrossa said, showing photographs of the many trajectory rods sticking out of the Altima’s passenger side. Neither Isnora nor Oliver ever stopped to pause and think about what they were doing and whether the threat remained, both emptying their weapons instead.

Lt. Napoli’s realization that there was no return gunfire and his decision not to shoot, was a perfect illustration, Testagrossa said, of how a reasonable police officer should have acted under the same circumstances. Detective Headley apparently came to the same conclusion as Napoli, Testagrossa contended, seeing as how he fired only once. Headley and Napoli served as standards of conduct by which to measure how a reasonable officer should have acted in this situation.

The two other police officers who fired their weapons — Carey and Headley — were not charged Testagrossa argued, because they acted reasonably, stopping to re-assess the situation well before unloading two magazines, and taking available cover.

The People’s civilian witnesses, Testagrossa said, may have had inconsistencies in their testimony, but, aside from Coicou’s, those inconsistencies were all minor. More, the fact that all of the People’s civilian witnesses were close friends with each other and lived in the same neighborhood, yet still presented somewhat inconsistent testimony, evinces that they weren’t lying, that they didn’t get together and plan their testimony.

Testagrossa reminded the judge that, there may be a multi-million dollar lawsuit pending, but those with the greatest interest in this case, with the greatest incentive to lie, are those with the most at stake — Isnora and Oliver. It’s no mystery that those witnesses who put the greatest fighting words in Bell’s mouth at the scene outside of the club (“let’s go fuck him up”) were Sanchez and Isnora.

Sanchez and Carey had tailored their testimony to help their fellow officers, Testagrossa said. Sanchez claimed he heard commands before the shooting, but couldn’t make out the exact words. So, how did he know they were commands? And Carey’s claim that Bell’s car came out of its spot as fast as a parked car possibly could, has the ring of tailored testimony designed to help Isnora’s contention that Bell nearly ran him over. In describing Isnora as laid back and confident, Carey contradicted even Isnora’s character witnesses — a longtime friend and a pastor — who said he was quiet and soft-spoken, and who were surprised he went into the police force because he was so non-confrontational.

If Isnora was acting as he should have, Testagrossa continued, he would have displayed his shield prominently — on a chain around his neck — not latched to his upper collar, thereby relying on the vagaries of other people’s eyesight (Bell was nearly blind in his right eye) to see it. Assuming he shouted any commands at all, ordering, “police, don’t move,” and “police, show me your hands,” both of which Isnora said he shouted, were contradictory. What would a reasonable person being given such conflicting commands be expected to do? And how could it appear to Isnora and Oliver that Guzman was continuously raising his hand as if to bring a gun up the whole time, even as he was moving to Bell’s side of the car to avoid gunfire, which Carey said he saw him do?

Benefield likely sustained the wound to his upper thigh as he was running, Testagrossa contended. If he was seated in the car, as Jason had testified was more likely, how then was there no damage to the car seat, since the bullet, having both an entry and exit wound on Benefield’s body, would have had to have gone through the seat as well. With all of the bullets that went into various things down the street — several parked cars, a house, a fence — it’s highly likely those aren’t all ricochets; someone was shooting at Benefield as he ran, Testagrossa asserted.

It was clear Isnora was scared of Kalua Club, Testagrossa said, as indicated by Sanchez’ having to go in before him to ensure the women from the prior arrest were not there to jeopardize his safety. And, Isnora said in his Grand Jury testimony that being an undercover was dangerous, if one is recognized, he could be subject to violence, and he’d been robbed before. All witnesses who knew Isnora — both civilian and officers — said he was quiet, reserved, his friends couldn’t believe he was going into the police force because of his non-confrontational personality. Well, Testagrossa said, “the road to hell is paved with good intentions”; if Isnora was scared, meek, too non-confrontational to be an effective undercover, if his personality meant he’d lead his fellow officers into such a tragic blunder, then he shouldn’t be an officer. At this, mumbling emanated from the prosecution spectator seats and someone must have punched the air to symbolize solidarity with Testagrossa, because the court stopped the prosecutor and told the audience, “please keep those gestures and thoughts to yourselves. This isn’t a ballgame.”

Testagrossa went through each civilian prosecution witness, showing how each was unfairly slandered, branded a liar by the defense. Marseillas Payne’s testimony that she spoke to a bald man on her way outside the club was backed up by Sanchez, and her claim that she went back into the club and told everyone about the shots was substantiated by the bouncer. Yet, because she was a witness, she was carted off to the police station where she was held against her will for 18 hours, unable to care for her children, unable to leave, treated like a criminal. And she was here branded a liar all because she only remembered seeing one collision.

Larenzo Kinred was branded a liar and a thug because of the way he sounded on Anthony South’s footage of the scene, angrily punching the air, saying his friend was killed and he didn’t even have “burn.” Kinred had a right to be angry; his friend had just been killed for no reason, Testagrossa said. And he was called a liar because he, along with all others besides Nelson, never heard any commands.

James Kollore too was reduced to “thug” and “liar”, but his only point of departure from the officers’ accounts was that he thought he saw the police van crash into the Altima instead of the other way around, and he didn’t remember saying “we’ll take that gun from you” to Coicou, while admitting on the stand he might have said it.

And what was the defense’s purpose in belittling Benefield, Testagrossa asked. This is a man who did nothing, took no part in the fight outside of the club, had no prior convictions, was wounded badly and permanently in the leg, was running down the street for his life — the personification of an innocent victim. Attacking him for claiming he had his arm in front of his face during the shooting was ridiculous — it makes perfect sense someone would do such a thing if faced with such a threat.

Regarding Guzman’s belligerent demeanor toward the defense attorneys during cross examination: how could he not be angry at the officers who killed his friend and wounded him for life, Testagrossa asked. And why keep bringing up the lawsuit as if it’s a bad thing — Guzman has $200,000 in unpaid medical expenses, and it’s not as if he set himself up to be shot so he could get the money. If anyone has the right to sue, it’s Joe Guzman. And why attack his claim that he moved to Bell’s side of the car in order to avoid gunfire. Who wouldn’t? Even Officer Carey substantiated that, saying he saw Guzman moving to the other side. “There was a lot of blaming the victims going on here,” Testagrossa said. And it went way too far.

Many of the witnesses were drunk and tired that night. They weren’t prepared for a shoot-out and weren’t closely and consciously watching everyone and everything making sure they’d remember it all. Everything happened extremely quickly, in a matter of seconds. This is likely why there are inconsistencies about who was where, who parked where and which cars they took, where Isnora came from, exactly when the gunfire began and how many shots there were and whether there were any pauses, and how many collisions there were — not that all of the People’s witnesses are lying thugs.

Though many heard shouts (Hernandez, Rafael, Sanchez), such shouts could have been any words. They could have been as Nelson said, “Yo, let me holler at you,” but what were Guzman and Bell supposed to think of a man with a gun approaching them saying such a thing? “Police” was not one of the words used, Testagrossa argued.

Testagrossa argued the way the bullets pierced the side of the Altima, the way they were evenly spaced, it looked like the officers were shooting at target practice. This was inconsistent with the claim that they shot as quickly as they could. Oliver made 31 decisions to fire, 31 decisions to use deadly force, 31 decisions to adjust his recoil and re-aim, he had 31 opportunities to pause and reasses, 31 opportunities to potentially save an innocent life.

If Isnora had acted in a responsible, reasonable manner in approaching Bell, Bell would have done exactly as he did with the officer who stopped his car before he went into the club: given him his license and registration, obeyed orders. That earlier incident with the other police officer, Testagrossa said, shows Bell wasn’t out for trouble, and was a rational actor. If only Isnora had acted as that earlier officer had.

The whole Club Enforcement Initiative itself was a problem. There was no real planning, the TAC meeting was poorly organized, the car was poorly equipped having no police light, none of the officers were familiar with the neighborhood, Napoli gave wrong information on who was being followed and who was to be stopped. The victims are considered thugs, Testagrossa said, while this shoddy operation is praised.

Everyone is entitled to the American dream and to justice, including people who make CDs about the streets and who have some prior convictions. There wasn’t one punch, one blow that night, coming from this group of so-called thugs, Testagrossa said. They all acted with far more restraint than the officers. “We ask this court to let justice reign and find the defendants guilty on all counts,” Testagrossa concluded.

Justice Cooperman said court is in recess until April 25th, at which time he’ll give his verdict.

Oh Louis and Priscilla!

I’ll sure miss Louis Van Amstel, but it’s not like we didn’t know it was coming. For one thing I really really wish they wouldn’t reveal the bottom two each week. I thought they weren’t doing that this season. It ruins the fun and surprise for the audience and it puts so much pressure on the dancers for the entire following week. Stop it, producers! I also think the ‘popularity situation’ with Priscilla was similar to that of Jane Seymour last season: the more mature women, audiences just don’t relate to that well. But I also thought she was one of the least promising left, although she was a classic and I enjoyed Louis’s choreography for her.

Did you guys enjoy Eric Luna and Georgia Ambarian? They compete in the exhibition / cabaret divisions at the big championships. I love watching those; they’re one of my favorite parts of competition … although, oftentimes the routines are too much about the tricks and end up being lift after lift after lift. But here I thought they did a pretty lyrical dance that nicely complemented James Blunt’s lovely song. Oooh, I was last working on a lifty lyrical routine myself when I decided to take my dance hiatus; watching those two makes me want to return…

At party & showing for armen danilian

At party & showing for armen danilian

Originally uploaded by swan lake samba girl via mobile.


Danilian photographs dancers with the Kirov Ballet based in St. Petersberg, Russia.

Danilian has just released a new book of his photographs called “Behind the Curtain.” It sells for $50. Some of the photos were on display in the gallery last night. One of my favorites was of the dancer in the top picture (sorry my picture is crappy; I only had my cell phone camera with me because I came from court and cameras are strictly forbidden in the courtroom). Unfortunately, I don’t know this dancer’s name since they didn’t have any captions at the gallery.

Fun event; lots of Russians there :) And, they had a string quartet playing that Ariel noticed had instrument cases marked “Kirov”, and a table loaded with Russian chocolates, breads, and wine. Very nice evening!

Last day for sean bell shooting trial

Last day for sean bell shooting trial

Originally uploaded by swan lake samba girl via mobile.


Press lined up outside courthouse for interviews with bell family and attorneys.

It’s Not Latin Without Proper Hips!

I thought the only good routine on tonight’s Dancing With the Stars was Mario and Karina’s. Ironic because my two favorite dances are rhumba and samba … or, perhaps maybe that’s why I always dislike the weeks devoted to those dances. Somehow Karina was able to teach Mario how to perform the hip and undulating pelvic movements properly, in a way none of the other pros were able to convey to their celebrities. Oh, and, I LOVED the music — “A Tisket a Tasket”! The first time I saw Karina dance (and wanted so badly to be her), she danced a Samba with her former partner, Slavik Kryklyyvy, to that song. Here it is on YouTube.

My second favorite was Marissa, although I wouldn’t really say her movement was Samba; it was more just fun all-out groving. There were no pelvic contractions and expansions at all — the rolling movement that gives the dance that seductively intriguing snaky feel. She said during practice to her Samba was all about shaking your booty, and it’s not. If she saw it that way, then no wonder she looked all wrong. She was cute and her dancing was a lot of sassy fun; it just looked more like something you’d see in a club.

Marlee had the same problem — no pelvic rotations, though she looked cute and gave her routine a lot of pizazz. It just wasn’t Samba.

Priscilla, Jason, and Cristian all tried to move their hips, but didn’t understand that the hips need to be connected to the lats (back muscles). It’s the lats that push down on the hips that make the hips move. If you just move the hip without first moving the lat, it looks like you’re just shaking your butt. It looks superficial and silly. One of my ballroom friends, Juana, once told me that rhumba emanates from the slaves. The quintessential rhumba walks that people now see as being so sexy, actually evolved from the movement one makes while trying to carry a heavy load atop one’s head. Think about it — you’d take a step, then the load would bear down on your shoulder, the weight would ripple down to your hip, the hip would settle into its socket, and you’d move on, taking another step and setting the movement in motion anew. After she told me this, I envisioned myself as such a woman, carrying heavy bottles of water atop her shoulders, and unbelievably it worked so much better than my teacher shouting, “foot, lat, hip, foot lat, hip” over and over again.

Anyway, Kristi and Shannon didn’t even try to move their hips. Shannon complained she had none to move. I used to use the same excuse (see my blog’s tag line), but now that I’ve seen plenty of tall, thin women (Joanna Leunis) do rhumba quite well, I know it’s just that — an excuse. Kristi did a lovely lyrical routine — and she’s definitely a natural and beautiful mover — but I felt that it wasn’t really rhumba without the hips — it was a nice theatrical dance you might see on Broadway, but not Latin ballroom.

Depressed! What did you guys think?