Arthur Mitchell

What a kick! Dance that moved us

2018 in Review, Part 4: Dance that turned our thinking inside out and took us places where we'd never been before

Sure, we love big jumps and fast turns, but that’s not what makes the best dancing. The best dancing is the kind that takes us places we’ve never been before, or turns our thinking inside out.

Some of Oregon ArtsWatch’s best dance writing this year did that, too. Collectively, the OAW dance team—the writers covering dance, that is; don’t book us for your holiday party just yet—has decades’ worth of writing, research, and performing experience, as well as the burning desire to produce insightful and inspired coverage of dance in all its forms.



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Lucky us: we had so much to do in 2018 that we can’t revisit it all here. Instead, we’re sampling some of the moments, big and small, that especially moved us this year:

 


Odissi Dance Conpany’s Artistic Director Aparupa Chatterjee with the ODC repertoire: Tanvi Prasad, Divya Srinivasa, Divya chowdhary, Swati yarlagadda, and Ramyani Roy. Photo: Sarathy Jayakumar

Embracing Odissi in the age of Trump

The 2016 U.S. presidential election continued to galvanize artistic action two years after the fact. “Since Donald Trump took office, I have been watching and admiring artists all around the world react to his words and policies and have been wondering how I should respond myself,” Jamuna Chiarini mused. “I think that my choice to step away from my Western dance practices and focus solely on Odissi is my response. The more degraded American culture gets, the less interested I am in being a part of it.”

Chiarini’s piece explored Odissi’s technical and cultural assets and illustrated why it particularly appeals to her in this degraded day and age: “Some dances in the Odissi repertoire aren’t even taught until a dancer reaches 40, because it’s believed that younger dancers don’t yet have the emotional depth and life experience to properly express what the dance is about. Odissi also doesn’t have strict rules on body shape and size as Western dance culture does. What is considered beautiful is much broader in Indian dance culture.”

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Warm hug from (and for) a giant

"If it's good, they will like it": The late, great Arthur Mitchell left a lasting imprint on dance, and a Portland writer recalls the man.

“Thank you, thank you. Now go home and do your homework,” Arthur Mitchell told 1,500 or so cheering children in the Keller Auditorium, his voice descending from the first balcony, sounding like the voice of God.

Dance Theatre of Harlem, the company he founded in 1968, was here on tour, probably sometime in the mid-1980s, and had just performed Glen Tetley’s Voluntaries, a plotless ballet set to music by Poulenc that is definitely not the usual school-show fare. DTH did have more conventional school show ballets in its repertoire at that time—John Taras’s Firebird, set in a tropical jungle rather than a Russian forest, comes readily to mind, as well as a Giselle re-cast in a Louisiana bayou. In Voluntaries, moreover, the dancers were costumed in skin-tight, dappled unitards, which could well have elicited some snickers. They didn’t. The kids were so enthralled you could have heard the proverbial pin drop.

Arthur Mitchell shortly after joining New York City Ballet, 1955. Photo: Carl Van Vechten. Columbia University Libraries Online Exhibitions: Arthur Mitchell: Harlem’s Ballet Trailblazer

I was astonished by their response, and said so to Mr. Mitchell (as people often addressed him), who had insisted I sit next to him for the performance. “If it’s good, they will like it,” he told me firmly, and indeed, the dancers had torn through Tetley’s blend of classical and modern movement with so much athletic energy and technical finesse, it’s doubtful the kids even noticed what they were wearing.

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