Founded in 1968, Lar Lubovitch Dance Company has grown to become one of the most revered dance groups in the U.S. This spring, the company will present its 50th season, with performances at The Joyce Theater in NYC April 17–22. The run features a world premiere by Lubovitch; classic works from the repertory, like Men's Stories: A Concerto in Ruin; and appearances by the Martha Graham Dance Company and dancers from The Joffrey Ballet, both performing Lubovitch works. Dance Spirit caught up with a few of the LLDC dancers to see how they're feeling about the momentous year.
Postmodern pioneer Trisha Brown redefined how dance is seen and felt. A founding member of Judson Dance Theater, Brown frequently collaborated with other experimental artists like Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Steve Paxton.
She embraced pedestrian movement, pairing everyday gesture with rhythm and fluidity. "It's liquid," says Wendy Perron, who danced with Brown in the '60s and '70s. "Like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions." Brown also pushed beyond stages with choreography in fields, museums—even on the sides of buildings.
Yes, I know summer doesn't *officially* kick off until June 21, but tomorrow at 10 am, I'll be feeling all of the #summervibes.
Why? That's the first Moves with Limón Dance of 2017. In my humble opinion one of the best "secret" freebies of an NYC summer, these open-level modern dance classes happen every Saturday from 10 to 11 am in Bryant Park through September 30.
Chances are you've heard of Sleep No More, the blockbuster production loosely based on Shakespeare's Macbeth. But Sleep No More is more than just a performance: It takes place throughout a five-story building in NYC, with audience members exploring the space on their own terms. If you attend the show, you're part of it—and that's what sets immersive performances apart.
As a student at Wayne State University, Sonya Tayeh had one of those experiences that seem to change everything: She saw Martha Graham’s seminal solo, Lamentation. Fast-forward a decade or so, and Tayeh is revisiting that defining moment. Fresh off another groundbreaking season on “So You Think You Can Dance,” Tayeh was one of four choreographers chosen by the Martha Graham Dance Company to create a new addition to Lamentation Variations—a series of four-minute pieces inspired by the original.
Several other choreographers, including Larry Keigwin, Aszure Barton and Yvonne Rainer, have made their own Lamentation Variations in the past, and this year’s crop of commissioned dancemakers are Tayeh, Kyle Abraham, Michelle Dorrance and Liz Gerring. Each choreographer is given just 10 hours to complete his or her piece and must start from scratch—pre-planned ideas aren’t allowed.
Dance Spirit caught up with Tayeh to talk about her Variation, which premieres this month at the Joyce Theater in NYC.
Sonya Tayeh working with Martha Graham dancers (photo by Brigid Pierce, courtesy Martha Graham Dance Company)
Dance Spirit: Can you talk about the first time you saw Lamentation?
Sonya Tayeh: My dance history teacher Georgia Reid showed me a video in class. Seeing all the restriction, grief and constraint in the piece—along with its pounding aggression—made me cry. I felt such a visceral connection to the work and to Graham’s idea that dance should make you feel something.
DS: What are you trying to convey in your variation?
ST: This year, I’ve lost two close friends. I’ve been feeling a sense of intense anxiety about getting as much done as I can before everything ends. I’m inspired by the moment when you’re in mourning and you feel stifled, but you tear away all that constraint and say, “Enough is enough.” I see it as a Part 2 of Graham’s Lamentation—if she tore away the fabric and all that weight lifted, what would happen? It’s like being shot out of a rocket.
DS: What is the music?
ST: I’m using a piece by Meredith Monk that consists of all these crazy breathing sounds. When I watch Graham’s original, I feel myself making those kinds of sounds, like my body can’t breathe and I need air. I want my piece to feel like the dancers are out of breath from the beginning. They’re exhausted, running around, trying to get so much done. I’ve been telling the dancers to let the music drive them.
DS: Everyone fell in love with your “SYTYCD” piece for Ricky Ubeda and Jessica Richens, which used Meredith Monk’s “Vow.” What’s your connection to Monk?
ST: I’ve been a huge fan of hers forever. And when my friends passed away, I just kept listening to one of her albums with “Vow” on it. I knew I wanted to use the song for “SYT,” and the producers agreed. I was also looking for music for my Graham piece, and I wrote a letter to Meredith explaining my situation and how I’d love to use her music. She gifted me the two scores. I’d love to work directly with her one day.
DS: What’s next for you?
ST: When I moved to NYC, my plan was to start anew, pay my dues and build my voice as a concert and theater choreographer. So this project, and being mentioned in the same breath as people like Kyle Abraham and Michelle Dorrance, is amazing. I also have a crew of dancers I’ve been working with, and I’d love to get some work commissioned. I’m just really honing in on the NYC dance environment.
Ahh. Visually striking dance movies—there's nothing like them. From the 3D, Academy-Award nominated Pina to the probing, New-York-City-Ballet-behind-the-scenes, Ballet 422, movies that take the awesomeness of dance to a new visual level are always the best ever. Well, dance-on-camera fans, rejoice! There's a new film coming out this month that promises to be extremely bold and beautiful.
Members of STREB Extreme Action performing "Sky Walk," as part of the London 2012 Cultural Olympiad.
(photo by Esy Casey)
Born to Fly: Elizabeth Streb vs. Gravity comes out next week, after rave reviews at the SXSW Film Festival this spring. Following Streb and her STREB Extreme Action
dancers movers, the film highlights the choreographer's contributions to dance, art and the quest for human flight—though sometimes at the cost of her company members' safety. But as Streb (aka the Evel Knievel of dance) says in the film, "Anything too safe is not action." Plus, it's insanely exciting—talk about a serious adrenaline rush—to watch the dancers bounding from incredible heights, spinning in a human hamster wheel and rappelling from buildings. Take a look at the trailer below—we promise, you'll be hooked:
Dying to see Born to Fly? Click here for a list of showtimes.