DANCE

DanceWatch Weekly: The Risk/Reward bargain

Risk/Reward's 10th anniversary festival highlights the week in dance

Usually a curator knows what an artist’s work is going to look like before it hits the stage, but in the case of the Risk/Reward Festival of New Performance, those creations aren’t revealed until opening night.

The festival, which opens Friday night at Artist Repertory Theatre and is directed by Jerry Tischleder, is interested in supporting the creative process more than the finished product. The end result is a selection of 20-minute works that break boundaries and new artistic ground, by merging together multiple genres of dance, music, theatre, performance art, film and more.

Celebrating its 10th anniversary this weekend, the festival will includes; a lobby film installation, karaoke, a post-show concert, and new performance works by well-known Portland choreographers Linda Austin and Pepper Pepper, alongside visiting artists Queen Shmooquan, Pam Tzeng, Kiana Harris, Shannon Stewart/Donal Mosher, and Coley Mixan.

What is the risk for the audience? There isn’t one. Especially not monetarily. Because this year, all tickets are pay-what-you-will, for the entire festival.

The reward, in my opinion, is that we (the audience) are not being “sold” on what to expect from the performances, because the presenter doesn’t know what the artists are presenting ahead of time. In today’s world where we are constantly being bombarded with marketing for things to buy, I find this approach to be a reprieve.

Also in Portland dance this week, visiting Pakistani Bharatanatyam dancer Amna Mawaz Khan will perform in Theatre Wallay at Artists Repertory Theater and give a performance and talk Tuesday night at New Expressive Works about living life “underground” as a Bharatanatyam dancer in Pakistan. For you musical theatre buffs, Roundabout Theatre Company’s Cabaret is here on tour from New York, and for ballet lovers, Sleeping Beauty is brought back to life by the students of June Taylor’s School of Dance.

Plus…lots of sun. Enjoy it all!

Performances this week

Risk/Reward Festival Of New Performance, June 23-24. Photo of Linda Austin Dance courtesy of Risk/Reward.

Risk/Reward Festival Of New Performance
Participating artists: Linda Austin Dance, Queen Shmooquan, Pam Tzeng, Pepper Pepper, Kiana Harris, Shannon Stewart/Donal Mosher, and Coley Mixan
Produced by Jerry Tischleder
June 23-24
Artist Repertory Theatre, Alder Stage, 1515 SW Alder St.
See above.

Bharatanatyam dancer Amna Mawaz Khan. Photo courtesy of New Expressive Works.

Amna Mawaz Khan-Lecture and Bharatnatyam dance performance
Presented by Subashini Ganesan/New Expressive Works in partnership with Linda Alper of Artist Repertory Theater
6:30 pm June 27th
New Expressive Works (In the WYSE Building), 810 SE Belmont St.
Use building doors located on the South side of the building.
Pakistani Bharatanatyam dancer Amna Mawaz Khan began her dance training at the age of eleven from one of Pakistan’s oldest living dance exponents of the form, Indu Mitha. She has performed worldwide, and has recently run for an elected office in Islamabad, connecting her practice of resistance politics to that of her dancing.

Khan will talk about her experience dancing Indian dances in Pakistan, along with how her dance teacher adjusted Bharatanatyam, which is a South Indian form of classical dance, to suit the Pakistani culture and languages.

Sleeping Beauty, June Taylor’s School of Dance, June 24th at 1:00 p.m. and 6:30 p.m. Photo courtesy of June Taylor School of Dance.

Sleeping Beauty
June Taylor’s School of Dance
June 24th at 1:00 p.m. and 6:30 p.m.
Portland Community College Sylvania Performing Art Center, 12000 Southeast 49th Ave.
With music by Ilyich Tchaikovsky and steps by Marius Petipa, the students of June Taylor’s School of Dance from five to eighteen, will dance the story of Princess Aurora, cursed by the evil Carabosse to prick her finger on a spindle and die on her 16th birthday. Of course good triumphs over evil, and the powerful and righteous fairies intervene, rescuing Aurora from death, and uniting her with her prince.

JTSD students Helia Megowan will be dancing the leading role of Aurora, Sarah Valesano will perform the Lilac Fairy, Michelle Oakman will perform Carabosse, and Lauren Wattenburg will dance the role of the Bluebird. All original Petipa choreography is staged by June Taylor-Dixon, and additional choreography adapted for JTSD’s younger dancers is by June Taylor-Dixon, Rachel Fleming, and Rebecca Hasler.

Cabaret by Roundabout Theatre Company, presented by U.S. Bank Broadway in Portland. June 27-July 2, Keller Auditorium, 222 SW Clay St. Photo courtesy of Roundabout Theatre Company.

Cabaret
Roundabout Theatre Company
Presented by U.S. Bank Broadway in Portland
June 27-July 2
Keller Auditorium, 222 SW Clay St.
In pre-war Germany, as the Nazis gain power, drama unfold between a young writer and Sally Bowles, a singer at the seedy Berlin nightclub called the Kit Kat Club. Nightlife is alluring, but dangerous, and times are uncertain. The Emcee, a ghoulish persona, tantalizes the crowd with his raucous, debauched performers, helping them to forget. In the musical’s final scene, as the Emcee is giving his Auf Wiedersehens, Sally Bowles says, “It’ll all work out, it’s only politics, what’s it got to do with us?” A nod to the society’s blindness towards the Nazi regime, and a relevant critique today.

Upcoming Performances

June
June 29-30, Choreography XX, Oregon Ballet Theatre
June 30, Spectacle Garden 13: The End, Hosted by Ben Martens
June 30-July 1, Improvisation Summit of Portland 2017, Hosted by The Creative Music Guild and Disjecta
July
July 6, Éowyn Emerald & Dancers
July 8, Ten Tiny Dances, Beaverton Farmers Market, Directed by Mike Barber
July 14-15, Rantum Skoot, Linda Austin, Gregg Bielemeier, Bob Eisen (NYC), and Sada Naegelin & Leah Wilmoth
July 14-16, Apparatus, by Danielle Ross
July 15, Rush Hour, Heidi Duckler Dance Theater Northwest
July 15, Pretty Creatives Showing, NW Dance Project
July 26, Movement and Flow: Portland Dance Films, Hosted by NW Film Center featuring films by Conrad Kazcor, Fuchsia Lin, Dylan Wilbur Media, Gabriel Shalom, Jackie Davis, and Amy Yang Chiao
July 29, Hafla, Portland Bellydance Guild
August
August 3-5, Galaxy Dance Festival, Hosted by Polaris Dance Theatre
August 11-13, JamBallah Northwest ’17, Hosted by JamBallah NW
August 24-September 6, Portland Dance Film Fest, Directed by Kailee McMurran, Tia Palomino, and Jess Evans
August 24-October 8, Kurios: Cabinet Of Curiosities, Cirque Du Soleil

DanceWatch Weekly: Helen Simoneau’s work in progress

Choreography XX at Oregon Ballet Theatre give three women choreographers a voice, including Helen Simoneau

For two weeks now the dancers at Oregon Ballet Theatre have been in the studio rigorously working out new, exciting choreography by Gioconda Barbuto, Helen Simoneau, and Nicole Haskins. The three talented choreographers were selected in Oregon Ballet Theatre’s Choreography XX competition, an initiative specifically created to discover new women choreographers in the male-dominated ballet world.

The three have extensive dance world credits. Barbuto is an Italian-Canadian dancer and choreographer who was a soloist with Les Grand Ballets Canadiens de Montréal and danced with Nederlands Dans Theater III. Haskins works as a freelance choreographer and dances with Smuin Ballet in San Francisco, and she received a fellowship grant to New York City Ballet’s Choreographic Institute. Simoneau, an independent choreographer and teacher based in North Carolina, is also the founder of Helen Simoneau Danse.

Gioconda Barbuto’s new work for OBT’s Choreography XX, presented June 29 ­30th, 2017 at the Washington Park Rose Garden Amphitheater. Photo by Yi Yin.

Since February after seeing OBT’s new Swan Lake, choreographed by artistic director Kevin Irving, I have been mulling over exactly what classical ballet is, and how it fits into the current world view. While watching Swan Lake I was struck by the lack of diversity in the company, and the sexist, oligarchic assumptions in the story line, which may have seemed cute and acceptable as a children’s fantasy once upon a time but now seems wildly out of place. In the real world different cultures struggle to coexist and discrimination is illegal, stereotypes are rude, we are trying to understand the ethics of cultural appropriation, there are no happy dancing peasants (poor people), child brides are illegal and women are not commodities to be traded for money and power, and democracy is the desired form of governance. Are we doing our children a disservice, especially girls, by replaying these classical ballet stories over and over? Can ballet companies escape their dependence on story ballets and their feudal view of the world? And what would replace those ballets?

Continues…

Summer Splendors: The ‘Chopin Project’ returns with an ambitious new Sarah Slipper dance

The NW Dance Project's Summer Splendors brought back the delights of "Chopin Project" and explored the dense possibilities in relationships with a world premiere

This year’s version of NW Dance Project’s Summer Splendors, which concluded its run Saturday at Lincoln Performance Hall, featured the premiere of director Sarah Slipper’s inventive, ambitious new piece, Tell me How it Ends and the welcome return of Chopin Project” from 2015.

For Slipper’s world premiere, two distinct sets fill the stage—on the left a stripped-down interior with a wall, a door, and a table, and on right, an empty space, save for a large backdrop for ambient projections. There is a sense of gravity on the left, the “real world,” while the open space on the right is a view into another dimension of that reality, and the interplay between the sides is a looking-inward rather than a comparison.

Andrea Parson and Elijah Labay are the couple who live on the left, and Julia Radick and Franco Nieto inhabit the dreamier space on the right, dancing at a more pensive, lyrical pace. The piece begins with Parson and Labay attempting to enter their simple home side-by-side, but they’re unable to both go through the door while holding their props—a vase of flowers for Parson and a cardboard box for Labay.

Andrea Parson and Elijah Labay in the world premiere of NW Dance Project Artistic Director Sarah Slipper’s “Tell Me How it Ends”/Blaine Truitt Covert

The chemistry between Parson and Labay is intense and finely honed. It’s clear that they have studied and imagined the relationship between the characters they play, not just the choreography that brings them together. They show a remarkable fluidity of tone as they move through the squalls, doldrums, and currents of their relationship, once entering the “house.” The most successful sequence involves an apple held between them, each biting down on one side. Starting with a crisp bite that is hard enough to be heard in the audience, the tactile memory of the resistance, flavor and lightness of biting into an apple fleshes out the space between the two, and gives their movements and their opposing bodies’ weight a sharp immediacy.

We can imagine how careful and in sync they have to be not to tear out another bite from the apple or damage their teeth, as they move together. The device is successful because it’s more than a gimmick—it’s a simple, insightful hook of personal experience with the audience on which to hang the dancers’ immediate, physical concerns.

Continues…

DanceWatch Weekly: Dualities and contradictions

As PSU pulls the plug on its dance department, the city demonstrates how vital dance is in the city

Dualities and contradictions exist in extremes this week in Portland’s dance scene.

While Portland’s talented dancers and choreographers are dancing for their lives and performing all over the city, Portland State University has decided to abolish its dance program, according to a press release for SHUT DOWN: The Final Performance from PSU Dance Students. Although PSU’s contribution to the community has been waning over the years because of continuous budget cuts and the policies of the various administrations, losing a university dance program, especially in a cultural hub like Portland, will have long-lasting, far-reaching consequences.

In a show of support for Portland dance artists, and in resistance to the cultural shift away from supporting the arts, showing up to this week’s dance performances (and there are many) is the action to take.

See you in the theatre!

Performances this week

Photo of NW Dance Project dancers Lindsey McGill and Elijah Labay. Photo by Christopher Peddecord.

Summer Splendors
Works by Lucas Crandall, Tracey Durbin, and Rachel Erdos, Sarah Slipper
World Premiere by Sarah Slipper
NW Dance Project
June 8-10
Portland State University, Lincoln Performance Hall, 1620 SW Park Ave.Internationally acclaimed concert pianist Hunter Noack will perform Chopin’s 24 Preludes to the choreography of Lucas Crandall, Tracey Durbin, Rachel Erdos, and Sarah Slipper, as part of the The Chopin Project, one of two pieces being performed in their annual Summer Splendors concert.

The Chopin Project, which premiered in 2015, “avoided an attempt to make movement that translated the music directly, instead creating a parallel sphere that mirrored the richness and delight of the music rather than the notes. And that was tremendously satisfying,” wrote ArtsWatch’s Barry Johnson at the time.

The second piece in the program Tell Me How it Ends, a world premiere by NW Dance Project Artistic Director Sarah Slipper, is a work for two couples (Andrea Parson, Elijah Labay, Julia Radick, and Franco Nieto), danced to a mix of contemporary classical and experimental music. It depicts a couple’s dual perspectives on their relationship over time.

Kúkátónón Children’s African Dance Troupe, 6:30 pm June 9. Photo courtesy of Kúkátónón Children’s African Dance Troupe.

Kúkátónón 2017 Showcase!
Kúkátónón Children’s African Dance Troupe
6:30 pm June 9
Jefferson High School Auditorium, 5210 N Kerby Ave.
Kúkátónón’s young dancers and drummers will end the year with a performance featuring West African dance and drumming, ballet, and guest performances by Sebe Kan (a West African dance company) and Baramakono (an African drumming ensemble).Kúkátónón Children’s African Dance Troupe is a Portland children’s dance company founded by Rolia Manyongai-Jones in 1983, and now directed by Dana Shephard. It focuses on inspiring confidence among the troupe’s dancers and broadening awareness of African and African American cultural traditions throughout Oregon. The company offers tuition-free African dancing, drumming, and classical ballet lessons on a weekly basis, taught by professional music and dance instructors.

Goblin King: A David Bowie and Labyrinth Tribute by Trip the Dark Dance Company, June 2-17, The Headwaters Theatre, 55 NE Farragut St. Photo courtesy of Trip the Dark Dance Company.

Goblin King: A David Bowie and Labyrinth Tribute
Trip the Dark Dance Company
Co-directed by Corinn deWaard and Stephanie Seaman
June 9-17
The Headwaters Theatre, 55 NE Farragut St.
In tribute to Jim Henson’s 1986 film Labyrinth and singer/songwriter David Bowie, Trip the Dark Dance Company takes the audience on an adventure to the center of the Labyrinth to rescue Sarah’s baby brother from the Goblin King after Sarah had wished him gone. It’s a mind-bending, hypnotic adventure that includes a little tap, contemporary dance, theater and a lot of Bowie, and… “where everything seems possible and nothing is what it seems.”

Jazz Around the World, Presented by Wild Rumpus Jazz Co., June 9-11. Photo by Alleh Lindquist.

Jazz Around the World
Presented by Wild Rumpus Jazz Co.
June 9-11
New Expressive Works, 810 SE Belmont St. (Entrance is on the south side door of the WYSE building)
Wild Rumpus Jazz Co., co-founded by Kelsey Adams and Lucy Brush, is bringing jazz dance back to Portland in their latest concert, Jazz Around the World, which explores jazz dance composition in relations to the different instruments, sounds, rhythms and melodies present in a variety of world music.The history of jazz dance is rooted in African American vernacular dance and over time branched out into many different styles including tap, Broadway, funk, hip-hop, Afro-Caribbean, Latin, Pop, club jazz, popping, B-boying, party dances and many more. A few historical jazz choreographers include Katherine Dunham, Jack Cole, Lester Horton and Bob Fosse. Well-known Portland jazz teachers and choreographers include Tracey Durbin and Mary Hunt.

Wolfbird Dance, comprised of Selina DiPronio and Raven Jones, will perform as part of the Dance Out Loud Choreographers Showcase, June 10-11. Photo courtesy of Woldbird Dance.

Dance Out Loud Choreographers Showcase
Directed by Oluyinka Akinjiola and Donna Mation
June 10-11
Center Space Studio, 420 SE 6th Ave.
With the intention of pushing boundaries, and in the theme of “resistance,” this brand new presenting platform, created by dance artists Oluyinka Akinjiola and Donna Mation, will present three new works by Portland choreographers Jocelyn Edelstein, Sheyla Mattos and Wolfbird Dance.

Chickens and Cheese Pizza, Inclusive Arts Vibe Dance Company, Disability Arts and Culture Project, 4:30 pm June 12. Photo courtesy of Inclusive Arts Vibe Dance Company, Disability Arts and Culture Project.

Chickens and Cheese Pizza
Inclusive Arts Vibe Dance Company, Disability Arts and Culture Project
4:30 pm June 12
The Rosewood Initiative, 16126 SE Stark St.
Inclusive Arts Vibe Dance Company, founded in 2005 by Kathy Coleman (current director), Erik Ferguson (co-artistic director of Wobbly Dance), and Jody Ramey, is a mixed-ability, mixed-age dance company that aims to further the artistic expression of people with apparent and non-apparent disabilities, by providing dance, choreography and performance as an artistic outlet.

Chickens and Cheese Pizza will be performed by Daric Anderson, Eleanor Baily, Arrow Bless, Ryan Blumhardt, Rachel Esteve, Peter Heiken, Addie Nelson, Monique Peloquin and Scott Selby (you can read their full bios here). The collection of five dances, choreographed by company members, digs into the human experience, exposing a full spectrum of emotions.

Moving History: Portland Contemporary Dance Past and Present, a film by Eric Nordstrom, 7:30 pm June 13. Photo courtesy of Tere Mathern.

Moving History: Portland Contemporary Dance Past and Present
a film by Eric Nordstrom
7:30 pm June 13
Portland State University, Lincoln Performance Hall, 1620 SW Park Ave.
With the help of some of Portland’s most notable dance artists and writers, along with archival research, Portland dance artist and filmmaker Eric Nordstrom has captured six decades of contemporary dance in Portland in his new film Moving History: Portland Contemporary Dance Past and Present. Back in June 2016 I interviewed Nordstrom prior to the screening of the film’s first iteration, and you can read that conversation with you again here.

SHUT DOWN: The Final Performance from PSU Dance Students
presented by the PSU Dance Program/School of Theater+Film
Under the direction of Tere Mathern, Dance Faculty
June 14-15
Portland State University, Lincoln Performance Hall, 1620 SW Park Ave.
The entire Dance Program at Portland State University has been cut. In this final performance, Portland State University dance students, faculty, and community dance members, will perform works that express mourning, celebration, integration, and liberation through movement to mark the department’s passing.

Performances next week

Continues…

Fresh faces, historic ballet

A hundred years after Ballets Russes's sole Portland performance, the young dancers of The Portland Ballet delve into the Russian tradition

“Ms. Davis, this is my daughter, she’s 5, and I’m wondering if you have a class she could take?”

“What a wonderful show. My daughter has been studying ballet since she was 8, she’s 12 now, do you think she could study at Portland Ballet?”

These were two of the many questions fielded by Nancy Davis, who with Anne Mueller is co-artistic director of the The Portland Ballet, immediately following the conclusion of their spring concerts at PSU’s Lincoln Performance Hall on the last Saturday in May.

And I couldn’t help thinking that these and other questions were inspired by the palpable pleasure the young performers were taking in being on stage, dancing their hearts out in a difficult program that demanded the mastery of quite different techniques and styles.

Henry Winslow and Naomi Rux in “Les Sylphides.” Photo: Blaine Truitt Covert

The program was keyed to ballet history in Portland and elsewhere, and began with Les Sylphides, the Michel Fokine ballet that Diaghilev’s Ballets Russes performed here a century ago, in the spring of 1917. Set to an arrangement of Frédéric Chopin’s music by that most Russian of composers, Alexander Glazunov, it premiered as “Chopiniana” at the Maryinsky Theatre in St. Petersburg in 1907. The version performed by TPB, its third revision by the choreographer, was made for the Ballets Russes’s first tour to Paris, and premiered at the Théâtre du Chatelet, in 1909, with Anna Pavlova and Vaslav Nijinsky heading the cast.

Continues…

Noguchi, no ‘Dark Meadow’

The dancing was splendid when the Martha Graham Company hit town. But without Noguchi's essential set, a masterpiece was ... something else.

White Bird Presents closed its 2016-17 season about three weeks ago with a single, brilliantly danced performance by the Martha Graham Company at the Arlene Schnitzer Concert Hall. I was determined to make it to the Graham show because Dark Meadow, in a shortened version by company artistic director Janet Eilber titled Dark Meadow Suite, was on the program.

As often as I have seen the Graham troupe perform (three times here in Portland, thanks to White Bird; multiple times in New York), I had never seen this particular collaboration with Japanese-American sculptor Isamu Noguchi, arguably the inventor of three-dimensional sets for dance. And while I have some qualms about the rearrangement of a choreographer’s work undertaken after she’s bourréed off the planet, and therefore has no say, surely a distilled version of Dark Meadow –described by Deborah Jowitt as a “Jungian adventure,” by Noguchi as about the “primordial time of the mind,” and by Senator Dale Bumpers as “about sex” – would be better than not seeing it at all.

Dark Meadow Suite opened the show and turned out to be a charming, seductive, lively demonstration of Graham’s vocabulary: the little jumps, the angled sideways leaps, the deep, second position pliés, the drumming feet. It was an ideal curtain-raiser showcasing the best dancers this company has had in many years. But, and it’s a big but: Just as Cave of the Heart would not be Medea’s story without Noguchi’s set pieces (the rocks that form Medea’s path, the spiky metal “dress” to which she returns again and again) and just as Night Journey (Oedipus Rex from Jocasta’s point of view) is inconceivable without the tilted “bed,” Dark Meadow minus the mildly phallic-looking stone shapes that Noguchi made to define the space and represent the movement of time becomes a very different dance. In Noguchi’s New York Times obituary, Graham made very clear how important his designs were to her dances: “The works he created for my ballets brought to me a new vision, a new world of space and the utilization of space,” she said. Noguchi brought that vision, as well as the idea of integrating dance, sculpture and props, to many other choreographers: In Portland, Jann Dryer, Mary Oslund, and Linda Austin come readily to mind.

Xin Ying as the Woman in Red in Graham’s 1948 “Diversion of Angels.” Photo: Hibbard Nash

Like the Limon Company, and now the Paul Taylor Company, the Graham Company has sought to keep itself alive by commissioning new work from today’s choreographers, who, ideally, have some connection with their founders’ aesthetic, and/or share their points of view. Nacho Duato is one such choreographer, and his Rust, created for the Graham Company in 2013 to an incredible score by Arvo Pärt, came next on the program. Stark, raw, with glaring lights, it begins with simple walking, and dancers soon descend to the floor of what looks like a basement prison. Several men are being tortured; one observes or directs, it’s unclear. I thought immediately of Franco’s Spain, in which Duato came of age, and to which Graham reacted in 1937 with an enraged, grief-stricken solo titled Deep Song. However, a program note states that Duato wanted to raise a seemingly indifferent world’s awareness of the torture taking place in our own time. And more power to him and the dancers who performed the tightly choreographed piece with grim, chilling stoicism.

Continues…

DanceWatch Weekly: Journeys, a goblin king and an arts festival

The dance weekend features PDX Contemporary Ballet and Trip the Dark Dance Company

Two Portland dance company performances and an outdoor arts festival in Wilsonville— your dance weekend in a nutshell!

Two shows open on Friday night. PDX Contemporary Ballet’s Iterum Echo collects three works that involve journeys (“iter” is a Latin word meaning journey) by artistic director Briley Neugebauer, Margaret Wiss, and Kiera Brinkley. And Trip the Dark Dance Company will stage The Goblin King: A David Bowie and Labyrinth Tribute, which runs for three consecutive weekends.

For PDX Contemporary Ballet, Iterum Echos finishes out the company’s first full season, an exemplary feat, considering most Portland choreographers work from project to project due to the amount of funding available for dance and the financial reality of dance: maintaining a company of dancers year round is a whole other ball of wax.

Since October 2016, the company, directed by Neugebauer (who danced with the now defunct Moxie Contemporary Ballet Company as well as Polaris Dance Theatre, ART-IF-ACT Dance Project and was an apprentice with Donald Byrd’s Spectrum Dance Theater in Seattle), has produced three major shows: Incipio in October, Interlude in February 2017, and now Iterum Echos. The company which prides itself on experimentation in ballet, received its nonprofit 501(c)(3) last April, and has since provided a platform for numerous choreographers, who have all been women. The fact that the company is directed by a woman and performs works by women choreographers is an unusual distinction in the ballet world, where choreographic commissions and directorships are predominantly held by men.

The works featured in Iterum Echos will be performed in the intimate setting of New Expressive Works space at 810 SE Belmont St., doing away with the traditional space that separates the audience from the performers.

The pieces include Circular Wave of Circumstance by Boston choreographer Wiss, inspired by the concept of space-time where time and three-dimensional space are considered fused in a four-dimensional continuum. It employs an original soundscape composed by local artist Colin Minigan. Portland choreographer Kiera Brinkley has created The Times, which explores her “real world” profession as a nurse. Brinkley, a former performer and choreographer with Polaris Dance Theatre, is a quadruple amputee since age two. Neugebauer’s Continually Beginning considers “the ordinary, repetitive steps of everyday life, the subtle differences that sometimes occur, as well as the feeling of moving backward instead of forward.”

On Saturday BodyVox, Polaris Dance Theatre, Edge Movement Arts, and Mexica Tiahui Aztec Dance Group, a dance group formed by Oregon State University students in 1995 to help preserve and promote Mexican culture, will perform as part of the Wilsonville Festival of Arts that brings visual art, literary arts, live music, dance, theatre, and performance art, outside to the public, for free, at the Town Center Park.

If you missed it, last week I spoke with former New York City Ballet dancer Tom Gold about working with Twyla Tharp, ballet marketing and his work for The Portland Ballet. “It’s all about marketing, and money and business. Nobody’s thinking, ‘I want to encourage and nurture this.’ That’s kind of the last thing.” You can read the full interview here.
Also last weekend ArtsWatch’s Nim Wunnan reviewed the latest installment of New Expressive Works’ resident choreographer program, and noted that tension was a common thread.

Performances this week

Jefferson Dancers Spring Recital, 7 pm June 1. Photo by Fritz Liedtke.

Jefferson Dancers Spring Recital
Jefferson Dancers
7 pm June 1
5210 N Kerby Ave.

The Jefferson Dancers, a Portland Public Schools dance training program and company based at Jefferson High School in North Portland, celebrates its 41st anniversary this year and will feature choreography by faculty members and performances by students in this recital program.

Iterum Echos by PDX Contemporary Ballet, June 2-4 at New Expressive Works, 810 SE Belmont. Photo courtesy of PDX Contemporary Ballet.

Iterum Echos
PDX Contemporary Ballet
Directed by Briley Neugebauer
June 2-4
New Expressive Works, 810 SE Belmont St.
See above.

Goblin King: A David Bowie and Labyrinth Tribute by Trip the Dark Dance Company, June 2-17, The Headwaters Theatre, 55 NE Farragut St. Photo courtesy of Trip the Dark Dance Company.

Goblin King: A David Bowie and Labyrinth Tribute
Trip the Dark Dance Company
Co-directed by Corinn deWaard and Stephanie Seaman
June 2-17
The Headwaters Theatre, 55 NE Farragut St.
In tribute to Jim Henson’s 1986 film “Labyrinth” and singer/songwriter David Bowie, Trip the Dark Dance Company takes the audience on an adventure to the center of the Labyrinth to rescue Sarah’s baby brother from the Goblin King after Sarah had wished him gone. It’s a mind-bending, hypnotic adventure that includes a little tap, contemporary dance, theater and a lot of Bowie, and… “where everything seems possible and nothing is what it seems.”

Photo of the Mexica Tiahui Aztec Dance Group. Wilsonville Festival of Arts June 3-4. Photo courtesy of Mexica Tiahui Aztec Dance Group.

Wilsonville Festival of Arts
June 3-4
Town Center Park
29600 SW Park Pl., Wilsonville
In its 18th year, the Wilsonville Festival of Arts brings visual art, literary arts, live music, dance, theatre, and performance art, outside to the public for free, at Town Center Park. This year’s festivities includes dance performances by BodyVox, Polaris Dance Theatre, Edge Movement Arts, and Mexica Tiahui Aztec Dance Group-a dance group formed by Oregon State University students in 1995 to help preserve and promote Mexican culture.

Performances next week

June 8-10, Summer Splendors, NW Dance Project
June 9, Kúkátónón 2017 Showcase!, Kúkátónón Children’s African Dance Troupe
June 9-11, Jazz Around the World, Presented by Wild Rumpus Jazz Co
June 10-11, Dance Out Loud Choreographers Showcase, Directed by Oluyinka Akinjiola and Donna Mation
June 13, Moving History: Portland Contemporary Dance Past and Present, a film by Eric Nordstrom
June 14-15, SHUT DOWN: The Final Performance from PSU Dance Students

Upcoming Performances

June
June 23-24, Risk/Reward Festival Of New Performance, Produced by Jerry Tischleder
June 27-July 2, Cabaret, Presented by U.S. Bank Broadway in Portland
June 29-30, Choreography XX, Oregon Ballet Theatre
June 30-July 1, Improvisation Summit of Portland 2017, Hosted by The Creative Music Guild and Disjecta
July
July 8, Ten Tiny Dances, Beaverton Farmers Market, Directed by Mike Barber
July 14-15, Rantom Skoot, Linda Austin, Gregg Bielemeier, Bob Eisen (NYC), and Sada Naegelin & Leah Wilmoth
July 14-16, Apparatus, by Danielle Ross
July 15, Pretty Creatives Showing, NW Dance Project
July 26, Movement and Flow: Portland Dance Films, Hosted by NW Film Center featuring films by Conrad Kazcor, Fuchsia Lin, Dylan Wilbur Media, Gabriel Shalom, Jackie Davis, and Amy Yang Chiao
July 29, Hafla, Portland Bellydance Guild
August
August 3-5, Galaxy Dance Festival, Hosted by Polaris Dance Theatre
August 11-13, JamBallah Northwest ’17, Hosted by JamBallah NW
August 24-September 6, Portland Dance Film Fest, Directed by Kailee McMurran, Tia Palomino, and Jess Evans
August 24-October 8, Kurios: Cabinet Of Curiosities, Cirque Du Soleil