Winning Works
The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
PlusWorld-class review of ballet and dance.
During opening night of Ballet West’s performance of Val Caniparoli’s “Jekyll & Hyde,” my dad turned to me and said, “I remember you once told me that dancers are telling stories with their bodies. Watching this, I really understand what you mean.” He took the words right out of my mouth.
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The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
PlusLast weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
PlusWho knew that a PB & J sandwich could conjure Proust’s madeleine? Certainly not this writer. But it’s not farfetched to think that Lincoln Jones, the artistic director, choreographer and conceptual guru of American Contemporary Ballet, had the idea of memory in mind when he conceived “Homecoming.”
PlusThe Korean Cultural Center New York presented the ChangMu Dance Company this past week and treated the public to an artistic gem. ChangMu Dance Company, currently with fourteen dancers, was founded in 1976 by Kim MaeJa, a pioneer of Korean “creative dance.”
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