Elizabeth Whelan

 

Contemporary dance befriends vaudeville in ‘Some Are Silver’

Lighthearted antics thread through new and vintage pieces by Carlyn Hudson

Carlyn Hudson wants you to have a good night, and her new show, running this Saturday at BodyVox Dance Center, is designed to help you do just that. The pieces in the Portland-based dancer-choreographer’s new program Some Are Silver seamlessly weave together contemporary dance, ballet, and vaudevillian comedy. And the program itself meshes new and old, offering the premieres of three works–The Royal Fireworks!, Façade in B Flat Minor, and I May Be Wrong–alongside six older works.

Hudson is a native New Yorker with a lifelong love for ballet. However after starting training late, at age 13, and witnessing the cutthroat competition of the ballet world, she realized that she wanted more creative control over her output.  My long obsession with ballet gave me the training I needed to articulate ideas using dance as my language,” said Hudson when I spoke with her prior to the show. Perhaps the hyper-perfectionism of ballet helped her find the voice she used to create Some Are Silver. Though it includes classical ballet technique, the program has a more forgiving view of failure: its lighthearted antics and vaudevillian sensibility provide a laugh for the audience and make the performers relatable and likeable.

Carlyn Hudson pairs new and old works in Some Are Silver. Photo courtesy Design by Goats.

To give the content some context, consider the period in which vaudeville flourished in the U.S. It was the turn of the last century: The Wright Brothers had just successfully taken flight, the first World Series was played, the women’s suffrage movement was gaining significant traction, Henry Ford started his motor company, and in theaters across the country, thousands flocked to vaudeville shows. Stringing together comedians, actors, ventriloquists, acrobats, and essentially anyone who could keep the audience’s attention with some slapstick humor, vaudeville provided an escape from a rapidly changing industrialized landscape. An evening of shows typically consisted of 10 to 15 unrelated acts whose sole purpose was to entertain.

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Dance review: The 10th New Expressive Works residents performance

New work by Decimus Yarbrough, claire barrera, Sarah Brahim and Shaun Keylock: "I am not what you supposed, but far different."

The New Expressive Works tenth residency cycle has just been completed, and according Suba Ganesan, the residency’s founder, “it’s the strongest example of my vision coming to life.”

The four choreographers come from all ends of the movement spectrum, but the danced images related to each other in more ways than one: discovering and celebrating identity, attention to intra- and interpersonal relationships within movement, and a genuine desire to create a safe space for artistic expression. Through the various approaches and stylistic influences, each choreographer incorporated these thematic elements in different and thought-provoking ways. This diversity allowed for the audience to witness the “rich, multicultural professional artistry that inhabits Portland,” explained Ganesan.

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Dance review: ‘Waters of the World’ is a liquid love story

Heidi Duckler pays homage to the liquid side of the Northwest in her new site-specific dance in the Fair-Haired Dumbbell building

The Fair-Haired Dumbbell building on the corner of Martin Luther King Jr. Boulevard and East Burnside is one of Portland’s newest and funkiest creative office spaces. The New York Times described its exterior as “florentine wallpaper” and the dumbbell-shape design features multiple sky bridges connecting its two six-story buildings. This is the location of site-specific choreographer Heidi Duckler’s latest work, Waters of the World, an homage to the Northwest, its abundance of water, and the fluid possibilities of movement.

Duckler is based in Los Angeles and Portland and leads two creative teams of movers, musicians, and artists. Since 1985, she’s crafted almost 300 performance installations between the two cities and around the world. Earlier last week, her company parked a school bus outside the BodyVox studio and danced within, under and around the bus while audience members watched from the sidewalk. There seems to be no location Duckler can’t turn into a space for dance.

Keil Moton and Conrad Kaczor dance in Heidi Duckler’s “Waters of the World” in the Fair-Haired Dumbbell building/Andra Georges

Three days after the bus performance, Heidi Duckler Dance Theatre/Northwest was back at it, bringing life and art into the Fair-Haired Dumbbell. Upon arrival, audience members took the elevator up to the fifth floor where Duckler directed them to the performance space: an empty room, walls punched by variously-sized windows looking out upon the city in all directions.

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Dance Preview: BodyVox’s ‘Rain & Roses’ checks some boxes

BodyVox finishes up its 20th anniversary season with a dance concert set to the music of female songwriters

When BodyVox’s artistic directors Jamey Hampton and Ashley Roland sat down to consider their 20th season, they knew they were going to go big. Six months later, they’ve accomplished a lot. World premiere of a brand new work? Check. Present evening-length work of two resident artists? Check. Take two shows on a five-city international tour? Check. Present dance film festival? Check. Pair up with Grammy-nominated wind quintet, Imani Winds for a show at Revolution Hall? Check.

And finally, premiere a brand new hybrid work featuring all-female music and set in a gritty Portland warehouse? They are about to tick that box, too.

It’s not too late to witness the Portland-based dance company as they check that last box and conclude a whirlwind of a season. Rain & Roses opens this weekend, May 10-12, and continues the following weekend, May 17-19, in the North Warehouse, 723 N. Tillamook Street.

Here are five reasons why you might want to check your own Rain & Roses box:

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Diversity dances: Rejoice! Diaspora Dance Theater

Oluyinka Akinjiola's troupe mixes a social justice message with choreography drawing on the joyous movement of the African diaspora

In what place in America could it be more necessary to express the black and brown perspective than right here in our organic-kale-kombucha-Subaru-loving, second-generation hippie town of Portland, also known as the city with the fifth highest percentage of white residents in America’s top 40 metropolitan areas?

When Oluyinka Akinjiola relocated back to Portland from Rochester, New York, the artistic director of Rejoice! Diaspora Dance Theater joined the 6.3% of Portland residents who identify as Black or African-American, according to the World Population Review. “At the time I did not see dance in Portland that reflected an experience I shared, or even people that looked like me on stage,” Akinjiola remarked in an email exchange. “My only option was to create a path for myself as a choreographer and performer.”

Rejoice! Diaspora Dance Theater performed this weekend at the Interstate Firehouse Cultural Center/Photo courtesy of Rejoice! Diaspora Dance Theater

And create her own path she did. After securing two platforms (Subashini Ganesan’s New Expressive Works Residency Program and Linda Austin’s Alembic Co-Production series) in Portland to present her vision of creating space for people of color within the arts community,
she created Rejoice! Diaspora Dance Theater—one of the city’s very few predominantly black contemporary dance companies. Diversity in the company has always been a priority Akinjiola emphasizes through casting and choreography. To her, being in a creative environment with other people of color is vital to raising the awareness of the general population.

Over the weekend the company presented new works by Akinjiola, Michael Galen, and Jamie Minkus at the Interstate Firehouse Cultural Center in a three-show run. The evening’s program, entitled UPRISE, featured work inspired by the despair that followed President Trump’s election, and, consequently the need for a collective uprising. The roots of UPRISE come from Freedom Is a Constant Struggle by American political activist and author Angela Davis, published in 2016. For Akinjiola, the book’s most important message was the need to bring diverse groups of people together: “That speaks to my soul being that my goal for Rejoice! is to remain a diverse company and represent the histories and perspectives of black and brown communities within the Americas.”

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push/FOLD: The many faces of Adam

The world premiere of Samuel Hobbs's "Early" investigates the human condition, masked and unmasked

As the audience entered the dimly lit AWOL Warehouse for push/FOLD’s world premiere of Samuel Hobbs’s Early, our first exposure was Hobbs himself, standing completely nude and still in the space. He remained in his stillness until the audience’s bustle of picking a space in the round had ceased.

With a downcast gaze and slightly torqued stance, Hobb’s posture recalled modern day Auguste Rodin’s Adam, a reinterpretation of Michelangelo’s The Creation of Adam in the Sistine Chapel. By pointing his fingers to the earth and collapsing in his upper body, Rodin’s Adam contrasts Michelangelo’s God-fearing, enlightened Adam, whose arm stretches towards a classically portrayed God-figure in the sky.

push/FOLD’s “Early” begins with a solo by Samuel Hobbs/Photo by Jingzi Zhao

During Early, Hobbs, who is push/FOLD’s artistic director, gives birth to multiple sides of himself, similar to the multiple interpretations of Adam throughout history. Hobbs has told me about a brief absence from dance when we had talked earlier in the week, and I asked him if Early was about a rebirth of himself. “’Early’ as a rebirth for myself?” he responded. “I think answering that might provide too much of a tangible thing to associate with a piece I’d like people to experience unadulterated.”

And so it went, the wonderful challenge of experiencing contemporary dance unadulterated.

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Dance review: Katie Scherman at BodyVox

Katie Scherman's retrospective at BodyVox includes the world premiere "To Have It All," which continues her investigation of the lives of contemporary women

The title of Katie Scherman’s new dance, the last piece in her retrospective concert at BodyVox this weekend, is To Have It All, and reading through Scherman’s bio, your first thought might be, hey, she does have it all! Multiple degrees, an ongoing list of repertoire work and companies she’s danced with, guest artist residencies, her 2009 Princess Grace Award, the multiple commissions that have taken her around the world—performing, teaching, and creating.

The first work takes us back to 2014, with a duet titled Assez, created while she was at the University of Oregon. For those of you who haven’t brushed up on your high school French lessons or checked in on your Duolingo app recently, the word simply means “enough.” Performed by Scherman and San Francisco-based artist Alyssa Puleo, Assez was enough and more. After a few minutes of movement ruminations, Scherman was the first to speak, saying, “I remember when you told me I was beautiful.”

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