by Katie C. Sopoci Drake
STORY/TIME is a three-part book that also serves as a companion piece to the Bill T. Jones/Arnie Zane Dance Company’s live production of Story/Time that will appear at New York Live Arts on November 4-8, 11-15 at 7:30pm. More information: http:www.newyorklivearts.org
After the lengthy acknowledgements to many honored academics, distinguished artists, and an impressive list of foundations and trusts, the first thing to strike the reader soundly across the brain is a preface that warns you that what you are about to experience is really a structured event, “a performance yearning to be a document, a book” that serves as a “record of a needy, angry, and confused man” with a need “for a tradition, an intellectual home”. After a description of the book’s layout, a hint at how you might best take in the information (an “invitation to play” or “reorder if you will”), and properly braced with what contradictions may present themselves, you delve into the first of three sections of the book.
This first section, titled “Past Time” plunges you into Jones’ experience within the 1970‘s dance scene. You witness him meeting with the ideas of John Cage, the growing importance of his ideas on Jones’ own artistic inquiries, and are confronted with random stories and images that evoke place and history. Jones’ feelings of exclusion from the intellectual community of scholars and artists of the time surfaces within the narrative providing fire behind Jones’ evidently voracious appetite for inquiry and the contradiction within himself between “comfort” and “provocation” within his own methods of creating live performance that “reveal the most personal aspects” of himself.
The second section, “Story/Time”, “a response to John Cage’s 1958 Indeterminacy,” is laid out like a score with dashes and brackets marking the time and random order (with the help of www.random.org) of 60 one-minute stories. These nuggets of prose, with words that are nudged and pulled apart on the paper to mark the passage of time, span the range of Jones’ own history and memories. Some having to do with art, some with family, some with characters from his life, certain stories swim back to the surface after their initial appearance in the first section of the book “Past Time”. Here they are washed clean of their previous context, and elevated to the status of art.
“Story/Time” begs to be read out loud. At the end of the previous section, “Past Time”, Jones gives us hints at his approach in performance which certainly invites the reader to try one or all stories in their own tongue. 17 unsentimental performance images accompany this leg of the journey giving the viewer a setting for the stories and reminds us of Jones’ questioning of his own interpretation of Cage’s theories assigning “a higher priority to the author’s intent or choices of presentation than to the audience’s capacity to interpret that intent.”
In “With Time”, the final section of the book, you read Jones’ thoughts on the direction of dance as an art-form with the benefit of having read about both his own journey towards this end and experiencing a sample of what his deep artistic inquiry has rendered. In it, he offers yet another twist in his journey in the form of praise he received from his niece in 1999 after a performance of We Set Out Early… Visibility Was Poor. Jones reveals that at that moment, she had represented another “community I had — justifiably or not — felt estranged from.” This revelation brackets a series of “provocations” that keep circling back around within the book: detachment from emotion in art, exclusion from intellectual society, estrangement from community, the class context of searching for identity versus the search for meaning, the role of history and personal experience in experimental art.
In a final interview with Laura Kuhn, Executive Director of the John Cage Trust, John Cage, Jones’ “icon of modernism”, is partially laid bare. Kuhn relates a story of Cage being so detached from society that he didn’t realize Jesse Jackson was black. The story doesn’t seek to embarrass the man, but to reveal a consequence of a philosophy that separates the artist from society. Directly after the interview, Jones identifies his desire to reconcile the community he grew up in with the artistic community he is immersed in and the contradiction of “choosing to engage seriously with such a socially ‘unengaged’ artist who seems to hard back to an era when the only artists who mattered where male and white. And yet engage with John Cage I must.”
As a written document, this book is clearly organized, quickly read, and dense with musings that can be dissected by dancers and non-dancers alike. As a piece of art, it is both process and product in one. The engagement and participation of audience member might be enhanced if the book is read and discussed in a group setting which makes me curious to see how it will fit with the live performance and how many people will pair the two. The experiment in creation, design and performance certainly poses many questions that, identifying as a dance artist, I found myself musing in the context of own work. Likewise, as an academic, I found I was concurrently dissecting the book for use in a future class. I found the “provocation” of personal context and its link to the audience’s experience of art particularly poignant when my thoughts swung back around to a quotation of Michel Auder which was, perhaps, not so randomly selected to end “Story/Time”: “’You motherfucker! You were thinking about yourself while watching my work!’”.
STORY/TIME: The Life of an Idea
By Bill T. Jones
Performing Arts, Dance, Memoir
108 pp. Princeton University Press. $24.95
Contributor Katie C. Sopoci Drake, MFA, GL-CMA, is a Washington D.C. based professional dancer, choreographer and teacher specializing in Laban-based contemporary dance. Holding an MFA in Dance from the University of Wisconsin-Milwaukee, a Graduate Certification in Laban Movement Analysis from Columbia College – Chicago, and a BA in Theatre/Dance with a minor in Vocal Performance from Luther College, Sopoci Drake continues to take classes in as many techniques and practices as she can handle to inform her work and life as a curious mover.
Katie has been on faculty at The University of Wisconsin-Milwaukee, Nova Southeastern University, Miami Dade College-Wolfson, Miami Dade College-Kendall, Carthage College, and Lawrence University. She currently guest teaches and gives masterclasses around the D.C. area and wherever her travels take her.
As a performer, Sopoci is described as a “sinuous, animal presence of great power; watching her dance is a visceral experience.” (Third Coast Digest). Company credits include Mordine and Company Dance Theater of Chicago, Momentum Dance Company of Miami, Wild Space Dance Company of Milwaukee, and Rosy Simas Danse of Minneapolis. Katie has also made appearances an an independent artist with many companies including Brazz Dance, Your Mother Dances, The Florentine Opera, and The Minnesota Opera.
Katie’s choreography, described as “a beautiful marriage between choreography, music and poetry” (On Milwaukee), arises from her fascination with the idiosyncrasies of daily life, and the flights of fancy that arise from ordinary inspirations. Her work has been performed by numerous companies, colleges and studios across the country and her latest collaboration, Telephone Dance Project, will take her to states up and down the East Coast while investigating long-distance creation and connecting far-flung dance communities.
Reimagined For Ballet Class: Pop Volume Two
When REM and RAD collide, you get a mashup like Reimagined For Ballet Class: Pop Volume Two. In this 2014 release by British composer Andrew Holdsworth, many of the pop tunes (Beyonce’s “Crazy In Love” or David Bowie’s “Let’s Dance”) are so well disguised they almost disappear—a plus for a pop-themed ballet CD, where too-obvious melodies can easily overwhelm. That isn’t to say most songs don’t jump right out, but more than many pop CDs I’ve encountered, Holdsworth’s keeps the music functional for a ballet class setting. I also found humor here—nobody would mistake Katy Perry for Strauss in the “California Gurls” waltz, but the transformation in style for this and other tracks is pretty tongue-in-cheek.
In terms of content, the disc has music for a full ballet class, plus longer versions of the allegro tracks and some samples from Holdsworth’s Classical series. The tempi are well-suited for an intermediate to advanced-level class. If you’re looking for a pop-meets-ballet CD, this is one of the better selections out there.
Sur Les Pointes avec une Etoile
Ballet Class Music
Sylvain Durand, pianist
Andrey Klemm, producer
Isabelle Ciaravola, dancer
This DVD/CD pair highlights the articulate pointe work of Paris Opera etoile Isabelle Ciaravola and the exceptional musical talent of accompanist Sylvain Durand. In the 72-munite Sur Les Pointes DVD, Andrey Klemm leads Ciaravola through a fast-paced, advanced-level barre and center. The accompanying CD features all of Durand’s music from the DVD, 52 tracks for 39 exercises.
Klemm’s combinations showcase Ciaravola’s exquisite footwork. The barre is quite typical, but several center exercises are a pleasing hybrid of Russian and French style, which the Bolshoi-trained Klemm discusses further in a short interview.
Sylvain Durand plays passionately throughout, and the fact that the CD was recorded live gives it tremendous energy. The sensitivity and attention to the subtle differences in dynamic is stellar, especially for the barre and allegro selections. Unfortunately, the short tracks limit the album’s overall usefulness. Only ten are longer that ninety seconds, making longer combinations or reversals inconvenient. In center, there are just a handful of pieces long enough to accommodate more than one or two groups of dancers without restarting the music.
Durand and Klemm both have other music and DVD releases available. This is their only collaboration to date.0
The 2013 documentary Flex Is Kings dives headfirst and somersaulting into the world of Flexing, a style of street dance centered in the Brooklyn neighborhood of East New York.
Schoo has captured a do-it-yourself dance movement in the most appropriate way. In an interview for The Wrap, she describes how she met a Flex dancer on a photo shoot and felt inspired to tell the story of Flex. Flex Is Kings, like Battlefest, is a grassroots, self- and crowd-funded operation.
Much of Flex dancing is narrative, an extreme reflection of life in East New York. It’s athletic, flashy and theatrical, full of aggressive one-ups and punchlines (showstopping stunts involving anything from acrobatics to magic tricks) executed to the soundtrack of “B.A!” cheers from an all-ages crowd, including Flizzo’s finger-gunshooting grandmother.
There’s no discussion of Flex’s evolution as a dance style, and here it doesn’t seem to matter. What’s evident is what Flex is to the dancers: a fleeting escape from the tough realities of life, a way of getting out and bringing home culture with you, a way of shaping the future. As one dancer puts it, “It’s really raw. It comes from us, from the neighborhood.”
Schoo and Nichols focus on three personalities. The unstoppable impresario Reem is the force behind Battlefest, a series of dance battles in Brooklyn. In the film, he’s a guide and anchor for this universe who dreams of leaving “a global imprint of what Battlefest, of what extreme street dancing is all about.” He coaches the dancers that they’re role models in their world and representatives of Flex to the world outside. Without knowing who might show up at Battlefest, they should look clean and presentable, “your jeans not on your knees…You’ve got to understand where you want to go”
For Jay Donn, another featured personality, dancing opens up an entirely new world of opportunities. He’s sought by modern dance group Company XIV to perform in a new Pnicchio, an adventure that takes him on a month-long trip to Scotland for the Edinburgh Fringe Fest. Wide-eyed and speechless, he couldn’t look more incongruous than when passing out flyers outside L’Occitane on the streets of mostly-white Edinburgh.
Unemployed with two young children, Jermaine “Flizzo” Clement uses performing to escape from his rough past and harsh present. As a mentor to neighborhood youth, he uses his talent to help shape a better future for the next generation. He has a mentor in Jay, who urges him to “keep doing your thing…and if you don’t make it here we’re gonna make it somewhere, together. This is the life. I deserve it, so do you.”
The film culminates in a frenetic sequence that cuts back and forth between Pinocchio and King of the Streets. It’s all energy and inspiration from there, neatly finished with a brief epilogue for each of the three principal characters.
Disclosure: 4dancers previously ran an ad for this DVD.0
Basic Castanet and Movement Technique Volume 1
In this thirty-five minute instructional DVD, New York City-based teacher and choreographer JoDe Romano walks the beginning student through a series of six castanet exercises. She begins with simple instructions for putting on and adjusting the castanets, then moves on to finger exercises, and eventually incorporates arm, head, and leg movements. Each new element is added systematically, with emphasis on slow repetition and daily practice to develop strength and accuracy.
Romano’s verbal directions are clear and easy to follow, and each exercise is shown from the front and back. Her demonstrations cleanly show the technique for each combination, and she provides an inspiring example of the strength, passion, and power of Spanish dance.
This DVD is a useful tool for beginners of any age, or any dancer looking for a better understanding of the basics of Spanish castanet movement. Basic Castanet and Movement Technique is the first of a two-part series. Both DVDs can be purchased on Romano’s website, www.flamencoromano.com.0
Unveiling Motion and Emotion
Photographs by Todd Carroll
A student from age five, choreographer from age 11, and teacher from age 15, Anabella Lenzu has a lifetime of experience, exploration, and contemplation to inform her first book, Unveiling Motion and Emotion. In fifteen essays on dance pedagogy, the role of artists in society, the dancemaking process, and her personal artistic development, Lenzu reveals an immense capacity for both action and feeling.
“Never in my life have I been able to imagine doing anything but sharing dance, teaching dance, and choreographing dance.”
“We cannot control the weather, the economy, politics, what people think, or how our partner feels! The only thing we can control is our body, our own microcosm, and our attitude toward life.”
Lenzu’s attitude ranges from humor to joy to nostalgia to frustration to gratitude, according to the subject matter of each piece of writing. She aggressively calls on teachers and dancers to fully investigate every aspect of our art form: its history, cultural influences and affects, and personal intricacies. Ignorance, lack of curiosity, and inaction seem to be the Holy Trinity of thorns in Lenzu’s side:
“…Good teachers are good teachers or they are s**t. There is no middle ground.”
“My goal is to try to decode and understand why people express themselves with this body language that is emotional, intellectual, and spiritual.”
Lenzu has taught ballet, Argentine tango, modern dance, barre a terre, and dance history and criticism at universities, dance studios, companies, and cultural centers in Argentina, Chile, Italy, and the US. In a strikingly candid reflective essay, “The Teacher Learns,” Lenzu names some of the fruits of her educational labors: how to tell the truth with tact, level egos, appease anger, calm panic, receive affection and criticism, give without expectation, build dreams, inspire, celebrate life. The list takes a full page and is by turns pragmatic and idealistic.
Lenzu currently directs her own company, Anabella Lenzu/DanceDrama. Of that role, she writes:
“Being a choreographer is a way of seeing life, an attitude, a way to both absorb and react to life. It’s a way to express our thoughts and inner world.”
“Nothing makes me feel more accepted and respected than sharing my work with others.”
She also founded, directed, and edited the cultural magazine Nexos, whose publication lasted from 1998-2001. In the essay “Words Impressed on Paper,” Lenzu states:
“For me, writing is not so much a pleasure as it is a civic responsibility, and as an educator, my perennial goal is to generate appreciation for and understanding of the arts and of artists.”
That sense of responsibility is at the center of this collection of essays. Where Lenzu’s tone is steely, she never rants. That would merely be unchecked emotion without subsequent action. Nor does she ever simply describe or prescribe methods of working; her writing is filled with questions and challenges to herself, to the dance world at large, and to audiences.
“To criticize isn’t simply to make negative remarks, it means questioning the system. …Without questioning, there is conformity, which brings mediocrity.”
“Dance is at a disadvantage to other art forms with respect to its methodological development…dance is like a folk tradition; it is transmitted orally. This is the reality, but we don’t have to accept it. …We as teachers must take responsibility for our actions; students cannot be blamed for our ignorance. Worse yet, if we do not take care, our ignorance will be passed on to younger generations. This is my call for an educational conscience.”
Action, investigation, contemplation, and further action: these are the responsibilities of all artists. Lenzu has chosen—or been chosen by—dance as her investigative framework because, as her opening essay is titled, “dance underlies all that I am.”
This boldly provocative collection of writing should be in every dancer’s personal library.
For more information about Anabella Lenzu/DanceDrama and Unveiling Motion and Emotion, visit http://www.anabellalenzu.com/book/.
JoDe Romano is a teacher and choreographer of Spanish dance currently working in New York City. Here she is joined by pianist Felix Ventouras for a selection of ten pieces by George Bizet, Isaac Albeniz, Manuel De Falla, and others.
Both Romano and Ventouras perform with great joy and brio, and a precision that sounds clean but never constrained. There’s a spirit of excitement from beginning to end that makes the CD a pleasure to listen to, even though there are works here from Spanish, Cuban, and French composers. Some of the music, like Albeniz’s sensual “Cordoba,” was originally written for piano, but most are opera dances: De Falla’s La Vida Breve, Bizet’s Carmen, and Geronimo Gimenez’s rhythmically playful El Baile de Luis Alonso. The latter is part of the opera sub-genre of Zarzuelas, traditional Spanish operas, several of which JoDe Romano has herself choreographed at Thalia Hispanic Theater in Queens.
Much of this music (like Emanuel Lecuona’s “Andalucia” and Pascual Marquina’s famous pasodoble) is instantly recognizable, and Romano and Ventouras overdo nothing. The piano and castanets are animated and expressive enough in the hands of these two skilled artists. Carmen has more mystery and allure in this arrangement than in many orchestrations I’ve heard. Joaquin Turina’s saucy Sacro-Monte is also a delight.
This is the only CD collaboration between Romano and Ventouras. It’s intended as dance accompaniment, but is worth listening to on its own.0