“I was born on this island of conflict, where beauty and trauma collide,” sings Dohee Lee referring to her native Jeju Island off the coast of South Korea. With sung narrative, she invites the presence of her Korean ancestors and the ancestral land itself for her world premiere of “Chilseong Saenamgut (Duringut): Ritual for Sickness.” Wearing a white cotton robe layered with strips of white paper and a white turban, she rings the shaman’s bell and opens her arms welcoming the audience members at Gibney Center in New York City (February 23-25) to heal along with her in a potent adaptation of a Korean healing ritual.
Dohee Lee’s “Chilseong Saenamgut (Duringut): Ritual for Sickness” presented by Gibney. Photo by Whitney Browne
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading