Tag: Brooklyn Academy of Music

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MERCE AT 90

 

So, this weekend marked choreographer Merce Cunningham‘s 90th birthday, with celebrations and performances of his latest work — Nearly Ninety— at BAM. Unfortunately I was unable to go — and Apollinaire reminds me just how much I missed — but I decided to compile a list of some reviews since this was such a momentous occasion (many consider Cunningham to be the greatest living choreographer, or the greatest living American choreographer; some consider him to be the last left of the greats):

Macaulay goes even farther and calls Cunningham “the greatest living artist since the death of Samuel Beckett”;

Tobi Tobias hails the choreographer, but critiques Nearly Ninety as well as the decision to let famed dancer Holley Farmer go;

Leigh Witchel describes Nearly Ninety as “dreamlike” in the NY Post;

Blogger Evan Namerow of Dancing Perfectly Free talks about the role of chance operations in NN;

Aynsley Vandenbrouke says NN is Merce’s “ode to his dancers”;

Jordan Hruska calls NN “Bionic Theater” in the Times Magazine’s blog;

New York Magazine’s Daily Intel blog blurbs mainly on the wheelchair-bound curtain call, etc.;

WWDLifestyle has a short list of some celebs who attended the post-performance party on Thursday night;

and here’s a YouTube performance clip from ArtRavels;

And, here are a couple of pre-performance overviews, from NYTimes and NY Magazine.

Apparently, NN will now travel to Madrid.

UPDATE: Also, here is Apollinaire Scherr’s review in the Financial Times. (I’m very happy to see, by the way, that she is now the dance critic for FT!) And here are more of her thoughts on the program and the Cunningham dancers on her Foot in Mouth blog.

And Eva Yaa Asantewaa in Dance Magazine.

Please let me know if I missed anyone.

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AFRICA AND CATALONIA IN NEW YORK

 

Today begins the New York African Film Festival, at the Walter Reade Theater at Lincoln Center. I love New York for things like this — particularly the Walter Reade, which most often hosts the foreign film festivals here. There are loads of intriguing-looking films showing as part of the NYAFF — comedies, tragedies, tragicomedies, political, historical, documentary — you name it. One, in particular, caught my dancing eye: Nora, about Nora Chipaumire of Urban Bush Women. I’d seen her dance at Jacob’s Pillow two years ago and she really blew me away. The film is about her return to her native Zimbabwe, where she remembers her youth. According to the description, the film “brings her history to life through performance, dance, sound, and image” and “includes a multitude of local performers and dancers of all ages.” Famed Zimbabwean musician Thomas Mapfumo composed the music. It’s showing together with another film, Coming of Age, about Kenya’s road to democracy as seen through the eyes of a young girl. There are so many films. The festival runs at the Walter Reade through the 14th, then travels to Columbia University and then Brooklyn Academy of Music. Visit their website for the full schedule.

Then, April 15th begins the Catalan Days Festival, a NYC-wide celebration of all things from Catalonia and the Balearic Islands. This festival includes free food samplings, plays, film, music, literature, and of course dance. The Baryshnikov Arts Center is the main host of the dance events. Visit BAC for a dance schedule, and the Catalan Days website for the full lineup. Happily, this festival runs all the way through mid-May.

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BATSHEVA’S MAX

 

Wednesday night I went to see the popular Israeli dance troupe, Batsheva Dance Company, at Brooklyn Academy of Music. My main experience with Batsheva has been taking a Gaga Class (artistic director and choreographer Ohad Naharin’s unique movement training) by Gaga-trained dancers at Cedar Lake Studios, and then seeing that company perform Naharin’s DecaDance ( a collection of his works over the past 10 years). This was the first time I’ve ever seen a piece by Naharin on his own dancers.

Maybe because I loved DecaDance so much (see above link), I was a bit disappointed with Max. The dancers are absolutely incredible with what all they can do with their bodies — making distinct, highly evocative gestures, then changing to another gesture at immense speed, bending and contorting their bodies into impossible-looking shapes, throwing themselves to the floor, insanely fast high battemants, etc. etc. — and you can really see how much Gaga technique, taken over a period of time, can allow you to move. My problem was more with the overall piece. It didn’t seem to go anywhere, just seemed to be the same extremely intense movements — sometimes evoking horror, sometimes prayer for forgiveness or peace, sometimes shock, with brief moments of tenderness, attempts to connect to one another, thrown in.

Naharin made the soundscape himself (under the pseudonym Maxim Waratt), and it was very intense. At times a deep-voiced man would sing in Hebrew (I think), his guttural crooning creating at times a threatening, portending feel, at times a bluesy one, similar to Leonard Cohen. At other times, the sound would resemble an ambulance siren, an earthquake, a whistle, raindrops or a leak — some kind of falling water, sometimes a person breathing heavily, at times there would be utter silence.

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