Martha Graham Dance Company to live music from Wild Up

Dance · Music

She was in her fifties during the forties — maybe that’s why this by-then mature artist was creating a litany of masterworks, nearly all to commissioned scores that got live delivery in performance.

In an honoring of that dance history, the Graham Company will perform a fully loaded program of three Graham masterworks to the live accompaniment by Wild Up. Founder Christopher Rountree will conduct.

In the photo Graham partnered by Erick Hawkins, performs “Dark Meadow” 1946 to a score by Carlos Chavez. A distillation of the work, “Dark Meadow Suite,” is included in the VPAC program.

It is my honor to offer a pre-performance talk for the Graham Company performance at VPAC. Please join me there.

Martha Graham Dance Company | Valley Performing Arts Center | May 13
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Alma would be happy. Celebrating the UCLA dance department, the nation’s first 7

Dance · Reviews


It was nearly an uproar; a spontaneous outpouring of love and appreciation filled the room when the image of Alma Hawkins, the founder and guiding force behind the dance program at UCLA (now called World Arts and Cultures/Dance), was flashed on an on-stage screen.

“A Celebration of UCLA Dance 1962-2017” was not the anticipated turgid tribute event. Instead, a real surprise, the audience howled its way through a raucous, super personal, often laugh-out-loud-funny feting of the nation’s first accredited college dance program marking 55 years of existence.

Many of the gathered alumni traveled distances to attend the birthday party/dance concert/Friar’s Roast. In the back of the house sat dance patron Glorya Kaufman, whose magnanimous philanthropy allowed for the renovation of a former girl’s gymnasium into Glorya Kaufman Dance Theater, the black-box performance space where the event took place.

Department chair Lionel Popkin was an elegant host in implementing his sacred duty: making a roomful of middle-aged women in attendance happy. And that he did, distributing lovely bouquets to honorees Elsie Dunin, Pia Gilbert, Alma Hawkins, Carol Scothorn, Doris Siegel and Allegra Fuller Snyder. Snyder, a giant of dance ethnology and former department chair, gave remarks that addressed the global loss of distinctive indigenous dance. She also honored dancer Gary Bates, recently passed away.

Of course there were men in the house too. But hey. Emma Lew Thomas, a friend of arts·meme and many more, also received a wonderful shout-out. Lew originated the idea to throw this big happy party. (It was Lew who noted that Alma, who died in 1998, would be happy.) Attendees also included the wonderful Yemenite dancer Margalit Oved and Judy Gold, an alum who went on to oversee dance at Santa Monica College.

Popkin’s smart stroke was to engage as emcee the comedienne Kristina Wong, who dropped dry bon mots all over the stage. Who’d a thunk dance could be funny? (Not this dance critic.)

Wong displayed true grit in loosening up an audience of basically academics, zinging herself and the art form. She changed the temperature of the room in a good way.

There were wonderful performances. Onto the stage scattered the Lula Washington Dance Theatre, a company with deep roots at UCLA. Washington, a proud graduate (husband Erwin, the company exec director, a UCLA grad; daughter Tamica a UCLA grad), never looked back after earning her degree in 1984. She has been contributing dance to the Los Angeles community, and beyond, ever since.

Washington’s dancers look so smart in their pristine white costumes — flowing for the ladies, grippingly tight for the guys —  dancing in Washington’s “Open Your Eyes” to music by Earth Wind and Fire. At the dance’s finale, out poured Washington’s recurring message of positivity, love and connection, as dancers spoke in epigrams, using a secret sign language, transmitted directly to the audience.

A double-dipper at UCLA is lanky Kevin Williamson, who earned both bachelors and masters degrees at this dance department. Williamson likes to tease audiences by ignoring his long legs, ignoring his long arms and torso, and drilling into minutia of gesture. This fun contrast he wonderfully delivered.


Jackie Lopez‘s hip-hop crew, Versa-Style Dance Company, then kicked it very hard in “Barrio Mundial.” Lopez, a 2004 UCLA dance alum, simply stunned with her wicked onslaught of heavy, pounding, beat-driven movement. She herself reigned as a queen at the always-moving center of her hugely diverse dance troupe. Not just fun, not just joy, there was an impressive discipline on view — of spacing, of expressiveness, of honoring solo artists. That made the whole thing much more than “street dance.”

From the look of her, they don’t make ’em like Alma Hawkins anymore. She hearkens the can-do spirit of the matriarchs of modern dance — reminiscent of Martha Hill, who perpetuated dance at The Juilliard School, lately the subject of the documentary, “Miss Hill, Making Dance Matter.”

New York had Miss Hill; Los Angeles had Miss Hawkins. Nothing, certainly no man, could stop these indomitable women. Hawkins holds a special place in my heart because, in the most unlikely of hires, she engaged Jack Cole to teach a select group of UCLA graduate students in 1973-74, at a time when the moguls of Hollywood seemed to have lost Cole’s telephone number. And there, at UCLA, Cole was teaching at the time of his death. I have interviewed several members of the UCLA Cole group; they are, well, great people. Passionate, eloquent, devoted to dance and devoted to the memory of Jack Cole. He rocked their world, a life experience for which they, and those gathered Friday night in a post-event reception quaffing sparkling wine, all have Hawkins to thank.

 

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So chic: Azzedine Alaïa costumes for ‘Shahrazad’

Dance · Fashion · Featured

Well who wouldn’t want to dress the gorgeous bodies of the Royal Ballet of Flanders? Couture master Azzadeine Alaia did so, to great effect, for the December 2016 premier of choreographer Jonah Bokaer’s ‘Shahrazad.’

In dressing this ballet, Alaia stepped into the rather massive footprint of Ballets Russes designer Léon Bakst whose ornate Orientalia, in scenery and costume design, defined Diaghilev’s seminal 1910 production of the Rimsky-Korsakov ballet.

We’re loving Alaia’s togs as well as Bakst‘s.

Audiences in Bruge can view the ballet, paired with Sidi Larbi Cherkaoui’s ‘Requiem,” set to music of the same title by Gabriel Faure. We very much enjoyed Cherkauoui’s “Babel(Words)” in New York last autumn.

Resource: Vogue Magazine

Photo credit: Filip Van Roe, courtesy of Royal Ballet of Flanders.

Requiem/Shahrazad | Concertgebouow Brugge, Belgium | April 29

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Free tix! DeMille’s ‘Cleopatra’ @ Chinese Theatre 90th birthday

Featured · Film
On May 1, 2017, Hollywood Heritage, the TCL Chinese Theatre, and NBCUniversal will celebrate the 90th Anniversary of the opening of the Chinese Theatre. It was known then, and for many still is nostalgically remembered as Grauman’s Chinese. The Chinese gives a prime example of Los Angeles’ kooky ‘themed’ architecture. The birthday bash will feature ...

Dissent through dance! Learn 15 new ways to talk to Donald Trump

Dance
Here’s how to tell Donald Trump what you think — put your body to it. Ideas of dissent vary in different contexts, according to workshop leader Ananya Chatterjea. A native of Kolkata, India, she also is a professor of theatre arts and dance at the University of Minnesota. Chatterjea envisions her work in the field ...

Primitive wonderment by Eleanor Swordy at Moskowitz Bayse

Visual arts
I like these vivid oil paintings by French-born artist Eleanor Swordy soon to be showcased at Moskowitz Bayse in Los Angeles. And I admit being intrigued by the show’s title, “Who Died?” Both the title and the imagery on display in this female artist’s work — the geometric shapes, the primary colors, the bulky human ...

Death of a dancer: Gary Bates 5

Dance · Featured · Music
In this image from the Los Angeles dance troupe, Eyes Wide Open Dance Theater, Fred Strickler (top) and Gary Bates (bottom) appear in “Don Quixote,” choreographed by Bates to the music of Steve Reich. Bates, who was a cornerstone member of the Los Angeles dance community, passed away on April 15, 2017. Bates’ contribution to ...

Farber on film: ‘Lady in the Dark’ @ TCM Fest 2017

Featured · Film
by 
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Go Grover! Grover Dale does the boogaloo in ‘The Landlord’

Dance · Film
I so enjoyed seeing “The Landlord” (1970), Hal Ashby’s maiden voyage as a film director, screened at TCM Fest 2017. One of those rambling and intriguing seventies movies that is so direct, so real, and wearing its heart on its sleeve. As the credits rolled, an added bonus — the name of arts·meme friend, Grover ...

Farber on film: ‘The Landlord’ @ TCM Fest 2017

Film
One of the special guests at this year’s TCM Classic Film Festival was actress and director Lee Grant, who gave a spirited interview before the screening of The Landlord, the film that earned her one of her four acting nominations for best supporting actress. Grant’s first nomination came for William Wyler’s Detective Story in 1951, ...