DANCE

DanceWatch Weekly: A very large nutshell

The week in dance wanders from drag to Tiny Dances to solos to a book about older dancers

Two drag performances, a musical based on a graphic novel, a book release party, some solos and not solos, and a fundraiser performance featuring Ten Tiny Dances: your dance weekend in a nutshell.

Jamuna Chiarini

On Thursday night at Performance Works NW in Southeast Portland, dance writer Emmaly Wiederholt and photographer Gregory Bartning will unveil their new book, Beauty is Experience: Dancing 50 and Beyond. A gorgeous, 9×12, hardcover book, Beauty is Experience contains 210 pages of interviews and photos of 54 West Coast dance artists over the age of 50. Out of the 54 artists, 19 are from Portland. The book is for sale on Amazon.com and on Wiederholt’s website, Stance on Dance. I highly recommend checking it out.

Within its pages you will find intimate portraits of Portland dance artists Linda Austin, Susan Banyas, Mike Barber, Gregg Bielemeier, Nancy Davis and Jim Lane, Tracey Durbin, Patrick Gracewood, Jamey Hampton, Laurel and Gene Leverton, Carla Mann, Tere Mathern, Jim McGinn, Josie Moseley, Jayanthi Raman, Eric Skinner, Melissa St. Clair and Carolyn Stuart, plus 35 more dancers from up and down the coast.

Why is this book important? By simply acknowledging dancers over the age of 50, the book subverts the patriarchal dance orthodoxy that says, “younger is better.” Showing everyone, everywhere, how beautiful and amazing dancers are at any age (and that you can’t actually age out of dancing) can change the dance world as we know it and how audiences see dancers. So buy the book, support the cause, subvert patriarchy, and keep dancing.

Performances this week

Portland dancer Mike Barber photographed by Gregory Bartning for his new collaborative book project with Emmaly Wiederholt called Beauty is Experience: Dancing 50 and Beyond.

Beauty is Experience: Dancing 50 and Beyond-Book Launch Party
Emmaly Wiederholt and Gregory Bartning
7 pm September 21
Performance Works Northwest, 4625 SE 67th Avenue
See above.

Drag artist Lahore Vagistan in Lessons in Drag with Lawhore Vagistan. Photo courtesy of Reed College Performing Arts.

Lessons in Drag with Lawhore Vagistan
A Lecture Demonstration by Kareem Khubchandani
Presented by Reed College Performing Arts
6:30 pm September 21
Reed College Performing Arts Building, Performance Lab 128, 3203 SE Woodstock Blvd.
FREE
Combining his research in dance studies, queer nightlife, South Asian diaspora, global queer politics, performance ethnography, critical race studies, masculinity, femininity, and drag, Khubchandani brings to life his drag persona LaWhore Vagistan, “your favorite desi drag aunty,” to enable “conversations about dance cultures, Third World feminisms, globalization, and queer pleasures.”

Kareem holds a Ph.D. in Performance Studies from Northwestern University, and is working on a book titled Ishtyle: Improvising Gay South Asian Nightlife, a performance ethnography of gay nightlife spaces in Bangalore and Chicago.

Check out Khubchandani’s interview with by Rajit Singh in 2016 and his music video Sari. You won’t be sorry.

The musical Fun Home featuring actors Aida Valentine as Small Alison, Karsten George as Christian Bechdel, and Theo Curl as John Bechdel at The Armory. Photo by Patrick Weishampel/blankeye.tv.

Fun Home
Based on the graphic novel by Alison Bechdel, directed by Chris Coleman
September 16-October 22
Portland Center Stage at The Armory, 128 NW 11th Ave.
The winner of five Tony Awards, including Best Musical in 2015, Fun Home, based on the graphic novel by Alison Bechdel, allows the audience into the intimate world of the author at three different stages of her life as she tries to make sense of her closeted and distant father, his death, her family, growing up in a funeral home, and coming out as an adult.

Photo of dancer/choreographer Carlyn Hudson. Photo courtesy of Carlny Hudson.

Solos, and Not-Solos…(But Mostly Solos)
Carlyn Hudson
September 22-24
Performance Works Northwest, 4625 SE 67th Avenue
SubRosa Dance Collective co-founder Carlyn Hudson presents her first independent evening of choreographic works, Solos, and Not Solos…(But Mostly Solos). The program includes six solos, a duet, and a quartet that effortlessly slip between contemporary dance styles, ballet and vaudeville, and weave together stories of love, loss, and beauty in whimsical and sometimes not so whimsical ways.

Hudson is originally from New York, attained her BFA from SUNY Purchase, performed with Connecticut Ballet and co-founded SubRosa Dance Collective in 2011 with Cerrin Lathrop, Jessica Evans, Kailee McMurran, Lena Traenkenschuh, Tia Palomino and Zahra Banzi.

Photo of Wayne Bund by Wayne Bund.

Critical Engagement Series: Wayne Bund / Feyonce
8:30pm September 22
Flock Dance Center in the Disjecta Contemporary Art Center, 8371 N Interstate Ave., Studio 4
In this month’s Critical Engagement Series at Flock Dance Center, multidisciplinary artist Wayne Bund presents Feyonce, an evolving performance piece that uses comedy, theater, music, dance and drag to discusses the power of femininity and sass – more succinctly put as “genderfuck,” as Feyonce says in her performance.

The Critical Engagement Series is curated by dance artist Tahni Holt, and “brings together audiences and choreographers in hopes to reveal some of the mystery surrounding the languages around dance and the unique practices of individual choreographers. We start with the question: What does the choreographer need at this particular moment in their process and how might this also serve the wider community.”

The Ten Tiny stage used for Ten Tiny Dances establish by Mike Barber in 2002. Photo courtesy of Ten Tiny Dances.

Inspiring Amity: A Ten Tiny Dances Fundraiser for New Expressive Works
5:30 pm September 23
810 SE Belmont (corner of SE 8th & Belmont)
Join Ten Tiny Dances in a performance fundraiser for New Expressive Works (N.E.W.). N.E.W., established in 2013 and directed by Subashini Ganesan, is home to a diverse dance community and provides space and support to contemporary dance and arts of all kinds. DanceWatch featured New Expressive Works in several previous stories which you can read here and here. The evening will be catered by Art Fortuna & Vibrant Table Catering and Division Wines, and will feature performances by Unit Souzou, Natya Leela, members of Obo Addy Legacy Project’s Okropong, Raul Gómez-Rojas (artistic director of Metropolitan Youth Symphony), Oluyinka Akinjiola (artistic director of Rejoice: Diaspora Dance Theater), Jessica Hightower, Shaun Keylock, Stephanie Lanckton, Ruth Nelson and Luke Matter.

Upcoming Performances

September
September 29-30, Diphylleia Grayi (Skeleton Flower) + Matriarch, Degenerate Art Ensemble and Mizu Desierto, presented by Mizu Desierto and Water In The Desert
September 29-30, Episode III, jin camou, Julia Calabrese, Mary Sutton, Leah Brown, a PWNW Alembic Co-Production
September 30, Katha – A Thematic Classical Dance Presentation w/ Live Music, presented by Kalakendra

Continues…

Takahiro Yamamoto’s direct path

TBA: In the premiere of the final section of the trilogy "Direct Path to Detour, Single Focus," the focus often goes to the detours

For Friday evening’s premiere in the TBA Festival of the third part of Takahiro Yamamoto’s Direct Path to Detour, Single Focus trilogy, the exhibition space at the Portland Institute for Contemporary Art’s West End location has been separated from the offices by tall curtains, making for a focused, intimate space that seems well-suited to Yamamoto’s one-man show. There’s a ceremonial feeling to the circular stage, which is ringed with purple pillows and remote-controlled LED lights in the shape of tea candles. Yamamoto mills casually among the crowd until the soundtrack, controlled by sidony o’neal, starts up.

The first passage, as Yamamoto takes the stage, cuts between samples, sound effects, and a sudden, brief emergence of the Doogie Howser theme song (more on that later). This soundtrack, like the performance, never really comes together, but that experience of disharmony seems to be at the core of the piece. Considering the name literally, or as a koan-like algorithm, can be useful for getting one’s bearings. In the sense that a choreographed show, meant to be watched, takes a direct path to a state of performance, this piece does what it says by detouring at almost any point where it might solidify.

The project description in the program says:

Direct Path to Detour seeks to evoke various mental and physical states that arise at the intersection of multiple value systems, social pressure, expectation, personal experiences, and body memory.”

Takahiro Yamamoto at TBA. Photo courtesy Robin Cone-Murakami

The first system Yamamoto engages, striding into the center of the stage, is the finicky world of a yoyo. Though he’s in control of it, he regards the toy at times like a strange animal that’s wandered onto the stage with him. He doesn’t perform tricks as much as he just responds to and moves with the yoyo. But already there is some sort of internal tension, and a mismatch of energies, as if his performance is in two places at once. The yoyo, with its own rules of momentum, acts as an indicator of these mismatches. The halting duet ends with Yamamoto muttering at screwing up an exchange with the yoyo, laughing and walking off stage.

Continues…

It’s mid-TBA and there is still so much to see and do! If you’re just tuning in, TBA, or Time-Based Art, is the Portland Institute For Contemporary Art’s yearly festival of performances, workshops, artist talks, visual art exhibitions, music performances, and after-hours parties. This year’s 11-day festival, spread out to venues across the city, is inherently interdisciplinary and features local, national and international artists coming from as far away as Singapore, Morocco, and France.

Jamuna Chiarini

Earlier in the festival ArtsWatcher Nim Wunnan caught Korean performer Dohee Lee’s work MU/巫; a piece based in Korean shamanism that combines technology, ritual, and the sounds of drumming and voice that explores myth as the thread that “connects us to our lands, nature, history, belief systems, and to each other.” You can read his in-depth review here.

Closing tonight Is Dead Thoroughbred by Portland artists keyon gaskin and sidony o’neal. If you’re interested in hearing about the process and concept behind this new performance project, join them in conversation at 12:30 p.m. today (Wednesday, Sept. 13) with scholars Sampada Aranke and Kemi Adeyemi at PNCA (Pacific Northwest College of Art). Wunnan also reviewed Dead Thoroughbred and you can read about his experience seeing the performance here.

Continues…

TBA: A dark, dead thoroughbred

Earplugs, distortion, and a 9-foot figure in a gown amp up the mood for o'neal and gaskin's packed house: "Is TBA a place for rage?"

The press release for Dead Thoroughbred reads, in entirety:

“DT is peri-conceptual, dis-experimental, and a-nihilist.

DT is a blackened performance that is never not happening.

DT is après-queer and post-ratchet.

DT is anti anti-capital capital.

DT is heavy evasion– worthless.

DT is useless currency devoid of value and wide in circulation.

DT has null intension and null extension.

DT is dead frivolous af.

DT is detrital presence; an exhaustion of lack.

DT is at least sidony o’neal and

keyon gaskin.”

The performance in the Portland Institute for Contemporary Art’s TBA Festival took place in the black-cinderblock box of the PICA annex space. Seats and a few spots on the floor surrounded a clearing for a stage, divided diagonally to make space for two audio setups – laptops, mics, an Ableton pad, various pedals. A lattice of what appeared to be IV bags filled with either black or clear liquid hung near the door to the main building.

keyon gaskin and sidony o’neal

It was a packed house, and everyone had been emphatically encouraged to use earplugs. The door shut and the audience had a few minutes to shift in their seats, adjust their earplugs, and then all the lights went down with an audible clank from some switch somewhere.

We sat for a beat in darkness cut by the red exit signs, then the enormous roll door that made up most of the outside wall churned to life and began to rise. As it rose, it revealed the defiant stance of gaskin’s legs, shod in a pair of severe, black stilettos, but as it continued up, their silhouette appeared impossibly tall and massive, draped in a black satin gown. When the door finally opened enough to reveal the whole figure, we saw it was topped with oneal’s head. o’neal was sitting on gaskin’s shoulders, and their whole form fit into the incredible, authoritative garment. The gown would fit just as well at a formal gala for a secret society as at the head of some interplanetary council, where 9-foot figures were expected.

They strutted in, and the room tensed with the precariousness of the situation – gaskin somehow navigating the room he could see only through the fabric over their eyes, walking on stilettos, pulling a black satin train that must have been 20 feet long. It was captivating, challenging, and incredibly effective for how simple an illusion it was. Once fully in the room, o’neal stepped down from gaskin’s shoulders, creating a centaur-like form as gaskin stayed under the trailing fabric and they moved in unison.

Eventually they split to opposite corners of the room, and the lights went down after o’neal lit a hurricane lamp and a cigarette. From there the show became harder to describe, which seemed to be by design.

For the rest of the show, which was about half an hour, gaskin and o’neal dueled on their audio setups, with loops of feedback, distortion, ragged tones, samples, and drones. gaskin worked the room with a movement performance seen mostly in shadow, lit his own cigarette, and o’neal spoke lines, whispered to individuals in the crowd, triggered audio samples and effects, and paced the room, at later points pouring bleach onto the floor. The two kept the audience in this diffuse, angry, dark, and challenging space until the lights clanked on with a brutal clarity at the end.

The mood ranged from ponderous to openly hostile, and I think choices were made to leave interpretations open-ended for much of the show. Many choices were also made to make the audience uncomfortable – filling the increasingly warm room with cigarette smoke, the grinding audio, and the direct interactions with the audience. o’neal’s most repeated and audible statement was “Is TBA a place for rage?” The last part, “a place for rage” was sampled live and later triggered by both o’neal and gaskin throughout the performance, underscoring its sentiment. It seemed to dovetail with the audio of a clip of Jim Carrey tearing down the very concept of New York Fashion Week, which played in full, punctuated by the ongoing dissonant soundscape.

o’neal repeated another phrase, or variations of it, but I was unable to catch the whole thing.

“People are disappointing precisely because they …”

I think the last word was “disappoint,” but I’m not certain.

Out on the courtyard afterwards, in the milling crowd, I found myself straining in the same way to catch snippets of the murmurs of the audience.

“Did you have fun” “Fun” “Yeah, that was the word I used.”

“The bleach was what put me over the edge.”

“…the dark thoughts that you would, like, vacuum the house instead to avoid thinking.”

“It’s a sinker.” As in it sinks in.

*

gaskin and o’neal will be speaking about this performance at 12:30 pm on Wednesday, September 13.

 

 

TBA: shamanism for today

Korean performer Dohee Lee's blend of technology, ritual, and engagement gets TBA:17 off to a stirring start

Dohee Lee’s performance Mu at the Portland Institute for Contemporary Art’s 15th annual TBA festival is only one of the elements of her ongoing, multidisciplinary Puri Arts project. The Korean word, “puri” refers to the relieving and releasing of suppressed or suffering spirits, while “Mu” means shaman. From the start of the show (which opened Friday night and repeats at 6:30 p.m. Saturday, Sept. 9, in the Winningstad Theatre) it’s clear that these are not allegorical titles. Lee is embodying her own new form of performative shamanism which combines traditional spiritual and theatrical elements with modern technology, contemporary settings, and current events. The large-scale projection that opens the show follows Lee as she literally brings her rituals to the streets of the modern world, walking in full costume through the streets of New York as if she was leading a procession of monks instead of curious spectators filming her on their phones.

She accompanied the large-scale projection on Korean barrel-drums, wearing the same amazing costume seen in the video. She was draped in a coat of hundreds of long paper strips bearing writing mostly in Korean, though some appeared to be in English. She wore a simple but elegant and somewhat official folded paper hat and brandished a small hand gong that carried remarkably well through the theater. The paper strips, which could easily be prayers or spells or remembrances of the dead, fluttered behind her on her long sidewalk processional as she chanted, danced, and performed a series of genuflections. While clearly following a set ritual, she demonstrated a seasoned performer’s ability to adapt to the unscripted interruptions from the world around her.

Dohee Lee’s technological shamanism.

One of the most affecting moments in that video came from an encounter with a police SUV. First appearing in the background for a moment, it later dominated the frame when the scene cut to Lee in an alleyway, kneeling in a doorframe and reciting something to herself. The SUV bristled with authority, aggressively stating its right to be where it stood. Its presence seemed to underscore Lee’s status as interloper, as the trespasser interrupting the everyday with a spiritual duty. At the moment it seemed the cops might get out of the car or squawk their siren, Lee stood up, held out her gong, and without looking back processed out of the alleyway, as if she were leading the SUV. It was the first of many moments where the line became blurry between whether Lee was using ritual as a type of performance, or she was performing an actual ritual.

Continues…

DanceWatch Weekly: It’s TBA time!

Punch this week's dance ticket with a host of provocative choices from the Time-Based Art festival

TBA: 17 is here! TBA, or Time-Based Art, is the Portland Institute For Contemporary Art’s yearly festival of performances, workshops, artist talks, visual art exhibitions, music performances, and after-hours parties. PICA’s 11-day festival, which spreads out to venues across the city, is inherently interdisciplinary and features local, national and international artists coming from as far away as Singapore, Morocco, and France.

It’s an exciting rush of nonstop activity from morning to night, and offers a mind-altering, opinion-changing, heart-opening extravaganza of the senses. Ready-set-go!

Below I have highlighted just the dance-centric TBA events, because that’s what we do here at DanceWatch. For the full festival schedule go to PICA’s website.

Performances this week

Will Rawls in I make me [sic]. Photo courtesy of the Portland Institute For Contemporary Art.

I make me [sic] (TBA:17)
Will Rawls
September 8-9
PICA at Hancock, 15 N.E. Hancock St
In this West Coast Premiere, Brooklyn-based writer, choreographer, and performer Will Rawls will perform I make me [sic], a nonlinear, live composition that uses movement, objects, sound, and text to address “issues of authorship, memory, race and subjectivity as intersecting monuments in need of constant undoing.”

Continues…

DanceWatch Weekly: Looking ahead, way ahead

A message from the future: Your dance card is full

Toss the streamers, pop the cork, and roll the drums because Portland’s 2017–2018 dance season is here! Listed below are all of the dance related performances that I am aware of from now until next summer. I will of course be adding more performances to the list throughout the year as they come to my attention, so stay tuned. But as it stands right now, it’s a pretty impressive list, and I’m excited. Portland’s dance scene is on fire!

The incredible amount of Portland dance offerings this year span American modern dance history, show breadth in style and approach, represent different cultures/counter cultures and countries, offer many ways to interact with them, and will be performed by local, national, and international dance companies and artists.

When you look at the calendar in full and see the sheer volume of dance events happening this year, it’s extraordinary. We Portlanders are really lucky. Even if you don’t make it to all of the performances below, please take some time to click on the links to learn about all of these amazing artists in our midst.

Continuing this week will be performances of Where to Wear What Hat by WolfBird Dance—a commentary of society’s constraints on women from from the 1950s until now, and two evenings of curated dance films with Portland Dance Film Fest from filmmakers around the world.

Cirque Du Soleil’s Kurios: Cabinet Of Curiosities also continues with it’s crazy cast of
dancing, twirling, and flying characters through October 8 at the Portland Expo Center. You can even listen to the show’s soundtrack while you buy tickets online. Tickets are 20% off through Artslandia’s website by clicking on the Kurios advertisement on the right hand side of their page.

If you are in Eugene, head out to First Friday ArtWalk to be a part of the choreographic process for a ballet with Instaballet. If you are in Astoria, you can catch some of Portland’s finest Flamenco artists, Espacio Flamenco Portland, at the Performing Arts Center.

And last but definitely not least is This is a Black Spatial Imaginary, two performances and whatnot by Portland dance artist keyon gaskin and Portland-based writer and performance artist sidony o’neal that “considers the movement and fixity of Black communities, by activating past, present and future spaces for Black life.”

Performances this week!

Where To Wear What Hat by WolfBird Dance. Photo courtesy of WolfBird Dance.

Where To Wear What Hat
WolfBird Dance
Choreography by Selina DiPronio and Raven Jones
August 31-September 3
New Expressive Works, 810 SE Belmont
Commenting on society’s constraints on women from the 1950s until now, choreographers Selina DiPronio and Raven Jones juxtapose iconographic ‘50s imagery with displays of force in both humorous and disconcerting ways to demonstrate the power and strength of women.

DiPronio and Jones have been working together since their student days at the University of South Florida and are interested in creating in collaborative environments and abandoning all conventions.

The deep-sea creatures of Kurios: Cabinet of Curiosities. Photo by Martin Girard shootstudio.ca.

Kurios: Cabinet Of Curiosities
Cirque Du Soleil
August 31-October 8
Portland Expo Center, 2060 N Marine Dr
This fantastical big-top performance draws the viewer into the mysterious curio cabinet of an ambitious inventor who defies the laws of science, reinventing the world around him. Out of his cabinet comes a wacky cast of characters: quirky robots, underwater creatures, a human accordion, and contortionist sea creatures. What is “visible becomes invisible, perspectives are transformed, and the world is literally turned upside down.”

Photo courtesy of Instaballet. Dancers Suzanne Haag and Antonio Anacan.

#Instaballet No. 23
Directed by Suzanne Haag and Antonio Anacan of Eugene Ballet Company
5:30 pm September 1
First Friday ArtWalk, Capitello Wine, 540 Charnelton St, Eugene
This event is FREE
Live music and dancers from Eugene Ballet Company

Reimagining who creates ballets, Instaballet, directed by Suzanne Haag and Antonio Anacan of Eugene Ballet company, gives artistic control to the audience. If you have ever wanted to choreograph a ballet but aren’t a dancer or a choreographer, now is your chance. Head on over to First Friday ArtWalk in Eugene and be a part of the process and make a ballet on the spot. The creative process begins at 5:30 pm and a performance of the final product will happen at 8 pm. The performance will be accompanied by live music and four Eugene Ballet dancers will make themselves available for your creative juices. In Eugene.

If you are interested in learning more about Instaballet and how it came to be, Eugene ArtsWatch correspondent Gary Ferrington wrote about them in 2015 in Crowd-sourced Choreography.

Photo from the film Open directed by Lindsay Gauthier. Dancers Michael Montgomery and Laura O’Malley. Photo by Aleskey Bochkovsky.

Portland Dance Film Fest (PDFF)
Directed by Kailee McMurran, Tia Palomino, and Jess Evans
Presented by NW Dance Project, Dance Wire, Bad Hands Studio, and Design By Goats
September 1-2
SubRosa Dance Collective members Kailee McMurran, Tia Palomino, and Jess Evans, have curated a massive, five-day dance film festival, spanning two weekends (and several locations) that concludes this weekend with two curated evenings of dance films (each evening lasting approximately one hour). The works screened are from Finland, Vietnam, United Kingdom, the Netherlands, Taiwan, Canada, Switzerland, Belgium, and the United States. Check out Portland Dance Film Fest’s website for screening times, film descriptions, interviews with select filmmakers, and more.

 

This is a Black Spatial Imaginary, two performances and whatnot
keyon gaskin and sidony o’neal
3 pm September 3
Paragon Arts Gallery, 815 N Killingsworth St

As quoted from their event page on FaceBook.

This Is A Black Spatial Imaginary considers the movement and fixity of Black communities, by activating the past, present and future spaces for Black life.

1st event for This is a Black Spatial Imaginary @ Paragon Gallery. Two performances. there will be snacks and whatnot.

cover charge for non-black people, artists split the proceeds.

about exhibition and project:

This is a Black Spatial Imaginary brings together installation, video, print media, performance, and public intervention, exploring new forms of practice at the intersection of art, collaboration, historical record, urban planning, collaboration and creative exchange.

This Is A Black Spatial Imaginary considers the movement and fixity of Black communities, by activating past, present and future spaces for Black life. Moving from NW to NE Portland (as Black Portlanders did), the work starts near Union Station at PNCA’s Center for Contemporary Art and Culture, crosses the Broadway Bridge, activates key sites, and ends on the eastside at PCC’s Paragon Gallery, with over 40 Black artists and scholars coming together to showcase work and share ideas. In sifting through historical and contemporary Black geographies, the work provides clues to understanding how Black possibilities live and breathe. The project grounds itself in collaborative work that span local and global Black geographic imaginaries, bringing both analytics and poetics to fields of practice.

Noche Flamenca
Presented by Espacio Flamenco Portland and the Performing Arts Center, Astoria
7 pm September 3
Performing Arts Center, 588 16th Street, Astoria
All Ages
Children 12 and under free!
Celebrating the variety in flamenco music and dance, Espacio Flamenco Portland will entertain Astoria audiences with soulful sounds of Moroccan singer Randa BenAziz, guitarist Brenna McDonald, percussionist Nick Hutch and Christina Lorentz, and dancer steppings of Lillie Last, Montserrat Andreys, Kelley Dodd, and Christina Lorentz.

Upcoming Performances

September
September 7-17, TBA:17, Portland Institute For Contemporary Art
September 8-9, Will Rawls, I make me [sic] Portland, TBA:17
September 9, Critical Mascara, performances by Pepper Pepper, House of Ada, Flora, and DJ Spf 666, TBA:17
September 8-9, Dohee Lee Puri Arts, MU/巫, TBA:17
September 8-16, Direct Path To Detour, Single Focus (World Premiere),Takahiro Yamamoto, TBA:17
September 9, Rejoice! Community Ensemble Dance Workshop + Performance, hosted by Scale House, Bend
September 9-10, Corbeaux, Bouchra Ouizguen, TBA:17
September 11-13, Dead Thoroughbred, keyon gaskin and sidony o’neal, TBA:17
September 12-14, Thank You For Coming: Play (West Coast Premiere), Faye Driscoll, TBA:17
September 14-17, Bunny, Luke George and Daniel Kok, TBA:17
September 16-October 1, Billy Elliot The Musical, presented by The Hasson Company, Portland’5
September 16, ADAPt Dance Celebration 1v1 Open Styles (do it your way) dance battle, Hosted by GAAN and ADAPT
September 21, Lessons in Drag with Lawhore Vagistan, Kareem Khubchandani, presented by Reed College Performing Arts
September 22, Carlyn Hudson Presents: Solos, and Not-Solos…(But Mostly Solos)
September 29-30, Diphylleia Grayi (Skeleton Flower) + Matriarch, Degenerate Art Ensemble and Mizu Desierto, presented by Mizu Desierto and Water In The Desert
September 29-30, Episode III, jin camou, Julia Calabrese, Mary Sutton, Leah Brown, a PWNW Alembic Co-Production

October
October 5-7, Complexions, presented by White Bird
October 6-8, Mowgli – The Jungle Book Ballet, Eugene Ballet Company, Eugene
October 7, Dance Of The Hummingbirds, Jayanthi Raman and dancers
October 7-14, Rhapsody In Blue (World Premiere), choreography by Nicolo Fonte, performed by Oregon Ballet Theatre
October 12-14, Paul Taylor Dance Company, presented by White Bird
October 13-14, The Northwest Screendance Exposition, directed by John Watson, presented by the University of Oregon Department of Dance, Eugene
October 19-21, Wen Wei Wang (World Premiere), Luca Signoretti (World Premiere), At Some Hour You Return by Jirí Pokorný, NW Dance Project
OCT 20-22, Abominable, Taylor A. Eggån and Daniel Addy
October 20-22, Uprise, Rejoice! Diaspora Dance Theater
October 22, Le Corsaire, Bolshoi Ballet in Cinema Live from Moscow
October 26, Cocktail Hour: The Show, choreography by Marilyn Klaus, presented by Seacoast Entertainment Association
October 26-28, Dancenorth Australia, presented by White Bird
October 31, Opus Cactus, MOMIX, Eugene

November
November 3-5, Converge, PDX Contemporary Ballet
November 9-12, When We, Allie Hankins & Rachael Dichter, a PWNW Alembic Co-Production
November 15, The Hip Hop Nutcracker Featuring MC Kurtis Blow, Decadancetheatre
November 16-18, L-E-V, presented by White Bird
November 24-26, The Enchanted Toyshop by John Clifford, Tourbillon by Anne Mueller, performed by the PSU Orchestra and The Portland Ballet
November 26, The Taming Of The Shrew, Bolshoi Ballet in Cinema Live from Moscow
November 30-December 9, Lexicon (world premiere), BodyVox

December
December 7-9, Bolero, Ihsan Rustem, NW Dance Project
December 9-24, George Balanchine’s The Nutcracker, Oregon Ballet Theatre
December 13-17, a world, a world (work-in-progress), Linda Austin Dance, PWNW
December 17, The Nutcracker, Bolshoi Ballet in Cinema Live from Moscow
December 22-24, The Nutcracker with Orchestra Next, Eugene Ballet Company, Eugene

January
January 18-28, Fertile Ground Festival of New Work/Groovin’ Greenhouse
January 25-27, Rennie Harris Puremovement, presented by White Bird

February
February 1-10, The skinner|kirk DANCE ENSEMBLE, presented by BodyVox
February 4, The Lady Of The Camellias, Bolshoi Ballet in Cinema Live from Moscow
February 17-18, Pink Martini, Eugene Ballet Company, Eugene
February 21, Mark Morris Dance Group, presented by White Bird
February 23-25, Configure, PDX Contemporary Ballet
February 24-March 4, Alice (in wonderland), choreography by Septime Webre, performed by Oregon Ballet Theatre

March
March 1-3, Urban Bush Women, presented by White Bird
March 4, The Flames Of Paris, Bolshoi Ballet in Cinema Live from Moscow
March 8-10, Jessica Lang Dance, presented by White Bird
March 14, Compañia Jesús Carmona, presented by White Bird
March 15-17, World Premiere’s by Sarah Slipper and Cayetano Soto, NW Dance Project
March 22-24, To Have It All, choreography by Katie Scherman, presented by BodyVox

April
April 5-7, Stephen Petronio Company, presented by White Bird
April 8, Giselle, Bolshoi Ballet in Cinema Live from Moscow
April 12-14, Contact Dance Film Festival, presented by BodyVox and Northwest Film Center
Apr 14-25, Peer Gynt with Orchestra Next, Eugene Ballet Company, Eugene
April 12-21, Man/Woman, choreography by Mikhail Fokine, Darrell Grand Moultrie, Nicolo Fonte, James Canfield, Jiří Kylián, performed by Oregon Ballet Theatre
April 24-25, Alvin Ailey American Dance Theater, presented by White Bird
April 24-25, The Wind and the Wild, BodyVox and Chamber Music Northwest

May
May 4-5, Current/Classic, The Portland Ballet
May 10-19, Rain & Roses (world premiere), BodyVox
May 11-13, Compose, PDX Contemporary Ballet
May 16, Ballet Hispȧnico, presented by White Bird
May 23-June 3, Closer, original works by the dancers of Oregon Ballet Theatre

June
June 8-10, Up Close, The Portland Ballet
June 10, Coppelia, Bolshoi Ballet in Cinema Live from Moscow
June 14-16, World Premiere – Ihsan Rustem, MemoryHouse – Sarah Slipper, NW Dance Project