Coast of samana, dominican republic
Originally uploaded by swan lake samba girl via mobile.
Beautiful beautiful land but very very poor. Children run to you with open hands wanting u.s. $. No running water, no electricity. Sad but wonderful people.
Pretty tortola, british virgin islands
Originally uploaded by swan lake samba girl via mobile.
Many more (& better) pics to come…
Originally uploaded by swan lake samba girl via mobile.
My favorite part of a cruise-the champagne art auction!
Originally uploaded by swan lake samba girl via mobile.
At martini tasting. Host asked drink trivia questions. I was only one who knew brazil’s most popular drink! Had to convince people am brazilophile & not lush!
I’m getting ready to go on a much needed vacation (yay!) but will unfortunately have to miss the following big exciting things:
David Hallberg performing with American Ballet Theater at the Guggenheim’s Works and Process program on May 4th and 5th;
Alvin Ailey II at the Joyce. This is Alvin Ailey’s studio company. I’ve never seen them before but am dying to;
Marcelo (my favorite) guesting with New York City Ballet in Robbins’ “Fancy Free” on May 4th;
The 100th episode of Dancing With the Stars.
If anyone sees any of these, please do let me know how it went so I can experience vicariously… 
Overheard in the ladies’ room at the New York City Ballet tonight, followed by laughter, and “you said it!” and “just a little self-indulgent, wouldn’t you say?!” and “full of every pretentious cliche there is,” and “well, the next one’s a lot better, it’s REAL BALLET, I PROMISE!” The last quote was followed by a chorus of “oh yes”s. I’ve never heard the ladies room that animated. Ever. This was all in response to Jerome Robbins‘ “Watermill.” Poor Mr. Robbins; no wonder the first performance of this ballet in 1972 was greeted with boos.
(Above picture by Paul Kolnick from here)
I initially agreed with the “pretentious” woman, although I felt a bit differently about it after reading eminent dance scholar Deborah Jowitt’s write-up on the piece in the program notes. Which is one of the functions of great critics and writers — to make the public understand and appreciate a work that seems undecipherable and hence aggravating.
Speaking of dance critics, I sat next to Alastair Macaulay tonight! (For those who don’t know, he is the newish chief dance critic of the NYTimes) It made me unbelievably nervous actually. But I don’t know why. He was very pleasant; he hardly wrote anything at all, and when he did he was very quiet about it and I only knew he was writing because I was trying to pay close attention to what he noticed … although his pen usually seemed to be going when nothing was really happening onstage. Anyway, he was reading a copy of the New York Review of Books and he had a Haruki Murakami book in his bag, which was more overstuffed even than mine.
(headshot by Paul Kolnick)
Back to “Watermill.” Well, here’s what happens: a man (here, the wonderful Nikolaj Hubbe, formerly with NYCB but now directing the Royal Danish Ballet and returning for a guest turn) is onstage wearing a robe. Also onstage are three big wheat stacks and a waterfall and quarter moon in the background. We go through an entire day, the moon slowly filling in to signify approaching night, then disappearing to show daylight, then returning to quarter moon - twilight. And this symbolizes the stages of the man’s life. I think. As the piece begins, Nikolaj looks very slowly at his surroundings, and as a Japanese bamboo flute sounds in the background, he looks around, mesmerized by that sound and longing to find its source, to follow it. He disrobes, now wearing only white underwear. Soon, a group of men bearing colorful lanterns atop long bamboo poles cross the stage; the man doesn’t seem to notice. They are followed by another group of men carrying colorful paper kites cut in the shape of birds and a dancer emerges and performs a very feathery, birdlike, solo. He was actually my favorite part of the whole thing — the “bird / man.” I think he was my favorite because he was the only one who had much movement, or at least non-extreme slow-motion movement. Soon he disappears and a group of warrior-like men bearing what look like spears emerge and taunt Nikolaj, who for the most part resists them. After a while they leave and a woman appears wearing a robe. Nikolaj is very taken with her. She disrobes, wearing a modern black bathing-suit, unwraps her hair which is up in a towel, and brushes her hair. As I said, the entire thing unfolds as if in extreme slow-motion. It must take a full 10-15 minutes for the woman to disrobe, shake her hair out and begin to brush it. Eventually Nikolaj resists her and lies down and falls asleep, while another man emerges and performs a duet with her evocative of copulation. He leaves, she leaves, and a person wearing a lion’s mask comes out and does a frightening dance. Nikolaj sleeps the whole time. Later women come out to harvest the wheat, waking Nikolaj. They give him two long stalks of wheat and he holds them above his head, like spears, like a god, then waving them around, making various shapes with them, symbolizing what I’m not exactly sure. He does this for maybe ten minutes, staring up at the stalks like they hold the key to the meaning of the universe. It keeps going like this, slowly slowly SLOWLY. Even Sir Alastair got shifty in his seat. More people come out, some moving in ways that some in the audience, judging by the sounds around me, thought laughable. And finally the moon goes back to the way it was at the beginning of the piece and we know it’s over. I’d say it got polite applause, along with lots of rolling eyes and angry bathroom talk.
Anyway, according to Jowitt, during the 60s Robbins had become fascinated with Japanese Noh drama, characterized as “ceremonious, slow-moving, poetic plays in which every spare action imprints itself on the viewer’s mind as indelibly as a brushstroke in a master’s calligraphy.” Her explanation made me better appreciate what he was aiming for but something tells me I would have liked a good Noh play better. Robbins’ drama just didn’t make sense to me — I couldn’t even figure out what country or era we were in: Lion man, bird-like man, warrior men, a woman wearing a bathrobe and swimsuit and hair toweled up like something out of the American 50s, people harvesting wheat… I’d love to see a Noh play now but I feel like for the extreme slow-moving actions to leave an indelible imprint, they have to be recognizable. I have to know why he’s waving those wheat stalks around above his head for me not to forget its image.
I mean, let me just contrast this ballet to a short film I recently saw at the Tribeca Film Festival. It was a Spanish-language film called “So Beautiful” and in it a woman in her late sixties / early seventies, overweight, skin sagging, age spots, is at the beach. She brings a picture of herself and a beau in her youth, sets it up on a little table next to her umbrella, pulls a champange glass and a small bottle of champagne out of an ice box along with crackers topped with smoked salmon and cream cheese, pours the champagne, drinks, eats, etc. A young woman approaches her and asks her to watch her bag, which the older woman agrees to do. But time passes, the young woman never returns and the older woman is ready to leave. Eventually, the older woman begins to leaf through the bag, finding typical young woman things — makeup, inexpensive costume jewlery, a condom, some loose change. As the older woman goes through the bag her facial expressions reflect her reminiscing on her own youth. The film is about 15 minutes long, and it has virtually no real “action” except for the two or three seconds it takes the young woman to ask the older woman to watch the bag. But it was unbelievably mesmerizing to watch the older woman’s face register happy memories, even just watching her look out at a fisherman as she eats her salmon crackers and sips her champagne made you think about what she might have been thinking watching that man. It made you think about the aging process, cycles of life, youth and beauty… it nearly made me cry and I have to say it had more impact than I think any of the full-length films I saw.
Maybe it’s silly to compare a movie with a ballet, but I know I wasn’t the only one not enthralled with Robbins here! Plus, Tribeca’s on my mind since today was the last of my films … 
(more about the movies later).
Anyway, the other ballet tonight was Robbins’ “The Four Seasons” which I wrote about here. It’s a cute enough ballet, based on opera with caricatures that symbolize the four seasons, but it’s not my favorite. I just have to say, the nano-second Kathryn Morgan appeared onstage I saw her and couldn’t take my eyes off her, and she didn’t have a lead role here. I wish they’d give her more big roles. This entire NYCB season, which began this week, is devoted to Robbins, so all programs will be Robbins-heavy, which I’m looking forward to, since, tonight’s program aside, I’m a big fan of his.
Here’s another earlier post I wrote for Huffington. It’s longer than the other, as I went into more detail. But, if you’re interested but didn’t have time to read all of my long-winded posts during the trial ( sorry!) I gave a summary of the case.
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.
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.
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.
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.
