11/19/16 O&A NYC SATURDAY MORNING CONCERT- DANCE: ccn de la rochelle / cie accrorap opus 14

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“In the succession of my creations, OPUS 14 represents a new event borne and adapted by 16 of the finest hip hop dancers. Power, otherness, commitment, poetry of bodies. Ultimately, OPUS 14 is a piece of hip hop.” Kader Attou Continue reading

11/15/16 O&A NYC PREVIEW: Winter At Westbeth

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Winter At Westbeth, a documentary film by Australian filmmaker Rohan Spong, follows the lives of three seasoned artists living in New York City’s Westbeth Artists Housing. The film makes its international premiere at the IFC Center, 323 Avenue of the Americas, as part of DOC NYC; New York’s annual festival of documentary films. 

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11/11/16 O&A NYC SHALL WE DANCE FRIDAY: Balanchine Jewels (the female variations) Emeralds-Rubies-Diamonds Mariinsky Ballet

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Balanchine’s Jewels, the female variations Emeralds (Gabriel Fauré’s Pelléas et Mélisande), Rubies (Capriccio for Piano and Orchestra (1929) by Igor Stravinsky)  and Diamonds (Symphony No. 3 in D major (1875) by Pyotr Ilyich Tchaikovsky) performed by the Mariinsky Ballet. Continue reading

11/4/16 O&A NYC DANCE: Alex Smith Jr. Honored At Bessies

By Walter Rutledge

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In life there are no detours, it is always the course appointed. Despite all of our plans and dreams we can count on the universe to add some unexpected twists and turns. Thelma Hill Preforming Arts Center’s Executive Chairman Alex Smith Jr. knows this all to well. In 1995 Smith become the guiding force of the organization by proxy, now twenty-one years later he was honored with a Service to the Field Award at the 29th New York Dance and Performance Awards- The Bessies. Continue reading

10/29/16 O&A NYC SATURDAY MORNING CONCERT: Janet Jackson The Velvet Rope Tour

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The Velvet Rope Tour, the third concert tour by American recording artist Janet Jackson, launched in support of her sixth studio album The Velvet Rope (1997).    Continue reading

10/28/16 O&A NYC SHALL WE DANCE FRIDAY: The Concert- Jerome Robbins/ Frédéric Chopin

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The Concert (or The Perils of Everybody), by choreographer Jerome Robbins with music by Frédéric Chopin portrays a cast of quirky characters at a piano recital and their laugh-out-loud antics.  The premiere took place at City Center of Music and Drama, New York, on Tuesday, 6 March 1956. Continue reading

10/14/16 O&A NYC WHAT HAPPENING THIS WEEK: Friday, October 14 through Thursday, October 20, 2016 Art, Dance, Film, Music, Theatre … And More

By Walter Rutledge

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Fall is in full swing and is quickly ushering in the holiday arts season. This week we honor dance in Brooklyn, celebrate Jazz on Staten Island, and watch Denzel Washington save a western town. Here are a few of the many events taking place in the city that never sleeps guaranteed to get you Out and About. Continue reading

10/10/16 O&A NYC HOLLYWOOD MONDAY: Tina Turner- The Acid Queen (Tommy)

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The Acid Queen, a song written by Pete Townshend and the ninth song on The Who’s rock opera album Tommy, tells the attempts of Tommy’s parents to try to cure him. They leave him with a gypsy, a self-proclaimed “Acid Queen”. She feeds Tommy various hallucinogenic drugs. Continue reading

10/3/16 O&A NYC DANCE: Getting To The Heart of Hearts Of Men

By Walter Rutledge

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Hearts Of Men, the multi-generational dance workshop, held their summer intensive August 29th through September 11th, 2016 on the campus of Montclair State University. The two-week workshop provides dance classes, and performance opportunities to male dancers ages 14 and older. This session 12 choreographers set works on over seventy-five dancers of varied technical levels. The choreographers included Germaul Barnes, Julian Barnett, Brian Harian Brooks, Clifton Brown, Christian von Howard, Nathaniel Hunt, Roderick Jackson, Amy Jordan, Edwin Rodriguez, Artie Smith, Hearts Of Men founder Earl Mosley, and yours truly Walter Rutledge.

Although the workshop culminates with a choreographic showcase it is not about the dance makers. The performance is another learning tool designed to allow the dancers (neophyte to professional) to test and/or hone their craft. Ten young men ranging in age from 15 to 23 were assigned to work on my choreography.

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This was my third time working with Hearts Of Men. Loretta Abbott and I performed a comedic duet entitled Sentimental Reasons in the 2015 summer session; and reprised the work for the January session (Shirley Black Brown graciously stepped in when Loretta was taken ill). But the 2016 summer season is the first time I worked directly with the dancers in the program.

Early in my choreographic career Bessie Schonberg advised me, “Don’t give them what you want. Give them what they need.” With that always in mind creating a dance theatre work- a dance narrative became our task for this session.

In recent years the dance narrative genre has fallen out of fashion for many reasons. Story ballets are expensive to mount requiring elaborate sets, ornate costumes, and a large corps de ballet. These dances require the choreographer be both dance maker and director, proficient in creating thematic material and character development. In addition performers must understand the power of nuance and acquire a discerning eye for detail that reaches beyond an extension or technical feat.

Many mature performers and balletomanes often remark about the technical virtuosity and impressive physicality of today’s performers. Unfortunately the kinesthetic onslaught often leaves these audience members exhausted for the performers. More awed by the near aerobic pace they often remarking, “How do they remember all those steps.” Before joyously reminiscing about Jose Limon curling three fingers and personally touching them as they sat in the back of the fourth balcony.

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Motherless Child tells the story of young enslaved men who long for the love and affection taken from them. A realization quickly set in that the enslaved Africans were the same age as my cast of young dancers. Looking into their faces (each filled with a lifetime of possibilities) I saw our ancestors whose possibilities had been stolen.

Channeling one of my mentors Nikita Talin (who would often quoted Nijinsky, “Act first, then dance”) our task was two-fold to convey sadness and loss and to extract that same emotion from the audience. Moving people to tears requires the use of universal themes and visual images given to the audience in stages, thereby lulling them into an emotional release. When executed successfully the visceral yet humanistic nature of the images and the scenario transcend language and culture.

Since the work was going to be performed bare-chested we worked without shirts from the first rehearsal. This made them cognizant of the plastique (sculptural elements) of the movement from the beginning. We set the work in Horton Technique, but also emphasized the importance of stillness and the power of just walking in character. “Your back talks”, was a common reminder as the dancers perfected movement executed facing upstage.

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To reinforce the individual and personal nature of character development images from Renaissance art were introduced. For the group dynamic Raphael’s School Of Athens demonstrated the concept of individuality contributing to the total compositional structure, while Michelangelo’s Pieta helped create the fragile imagery in the death scene. The art also allowed us to discuss the visual focal point and how the choreographer directs the audience to follow the action.

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The most important word became intent- simply why. Why are you moving? Why are you reacting? By defining the intent we produced Euclidean economy and focus, streamlining both movement and message.

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By our last rehearsal it was time to let the choreography go. In other words the work no longer artistically belong to me exclusively. Through their diligence and hard work the dancers had earned artistic ownership, and I had to step back and trust them.

The performances took place on September 10th and 11th in Montclair State University’s Memorial Auditorium. Fourteen short predominately ensemble works ranging from upbeat pure movement works to abstract narrative to dance theatre were presented to an enthusiastic audience of family and friends. I usually don’t sit in the audience when my work is performed, but this time I needed to feel the energy.

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The music started in the darkness, slowly light began to illuminate the dancers. From the first steps to the final fade to black the dancers moved with intent and commitment, touching the audience and accomplishing their task. Finally during the informal part of the bow you could see and feel their joy- it was both gratifying and humbling.

If the classroom is where you develop your craft, then the stage is where you perfect it. Hearts Of Men continues the time-honored tradition of training, performing and mentorship. To learn more about Hearts Of Men and the other year round programs and services offered by the Earl Mosley Institute For The Arts visit emiadance.org.

 In Photo: 1) cast 2) Loretta Abbott and Walter Rutledge 3) cast 4)  School Of Athens 5) Pieta 6) cast 

Photographs by: 1,3,6 Miskos Production-  Milan Misko videographer 2) Howard Hemp 4) Raphael 5) Michelangelo

Video by: Miskos Production- Milan Misko videographer

 

 

 

 

 

 

9/20/16 O&A NYC SONG OF THE DAY: Lady Gaga – Paparazzi

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Paparazzi, a song by singer-songwriter Lady Gaga from her debut studio album The Fame (2008). The music video was directed by Swedish director, Jonas Åkerlund.   Continue reading