CNDC-Angers

ArtsWatch Weekly: Keep the stories coming

An invitation to be a part of ArtsWatch. Plus: centenarians Lenny and Merce; Lauren Hare's America; a little song and a little dance.

AS WE MOVE CLOSER TO THANKSGIVING DAY, all of us here at ArtsWatch would like to thank you for the support you’ve given us and ask you to join us as we prepare for another year. You, our readers and financial contributors, make what we do possible. We’ve published more than 450 stories so far in 2019 – news, reviews, previews, analyses, portraits, and deeper insights about the arts. Here’s just a taste of what you’ve helped make happen this year:
 

  • Exquisite Gorge: Friderike Heuer’s 11-part series chronicling Maryhill Museum’s epic 66-foot print project to document the Columbia River.
  • Visual arts coming and going: Bob Hicks’s extensive inside look at the new Jordan Schnitzer Museum of Art at Portland State University, and Barry Johnson’s comprehensive coverage of the Oregon College of Art and Craft’s demise, which topped our most-read list for 2019.
  • Monumental undertakings: Brett Campbell’s in-depth take on the collaboration of PHAME, which provides training and opportunities for developmentally challenged performers, with Portland Opera to premiere the opera The Poet’s Shadow.
  • Theater profiles: Deep portraits by Bobby Bermea and Marty Hughley of Asae Dean, Rodolfo Ortega, Oregon Shakespeare Festival’s Bill Rauch, the OUTwright Festival, PassinArt’s Black Nativity, and the state of Oregon theater.
  • On the move: Elizabeth Whelan’s profiles of a new generation of dancers and choreographers who are turning Portland into a creative mecca.
  • Minding the gap: Damien Geter’s examination of the diversity deficit in classical music performances and suggestions to remedy it.
  • Picture this: Photo essays of Beaverton Night Market, Nrityotsava, Día de Muertos, colors of India, Waterfront Blues Festival, to name a few.
Ghanaian drumming and dance by Nii Ardey Allote & Nikome at Beaverton Night Market, subject of one of many ArtsWatch photo essays in 2019. Photo: Joe Cantrell

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Dance preview: Restaging two great Merce Cunningham dances

Robert Swinston, who has been immersed in Merce Cunningham dances for almost 40 years, brings "BIPED" and "Beach Birds" to town

I love that dance is so transient. I hate that dance is so transient.

I love the urgency, the surprise, the physical shudder of understanding that a great dance delivers. I hate that once it’s over, it’s impossible to duplicate. We in the audience, after all, will never precisely pass in this way again, and neither will the dancers onstage. That’s where the urgency comes from—the desire to hold on to a particular, delightful filament of moments in time.

So, yes, I’m talking about the late Merce Cunningham and this weekend’s visit (November 21-23) by the French company CNDC-Angers, part of White Bird’s 2019-20 season. The company will perform two of Cunningham’s astonishing works of the 1990s, Beach Birds and BIPED, and if anyone is going to capture lightning in a bottle, it’s going to be these guys. 

CNDC-Angers will perform Merce Cunningham’s “Beach Birds” this weekend at the Newmark Theatre/Photo by Charlotte Audureau

CNDC-Angers is led by Robert Swinston, who was a central part of the Cunningham company for more than 30 years, performing in both Beach Birds and Biped. He began staging Cunningham dances in1993, and after Merce died in 2009, he became both the company’s director for its final two years of existence and a trustee of the Merce Cunningham Trust. He’s led CNDC-Angers since 2013, working with Cunningham material of various kinds and with other companies along the way.

The confluence of the Trust, Swinston, and the nature of Merce’s dances, which are organized around a defined dance technique, mean that we’re going to see something very close to the original Beach Birds and BIPED at the Newmark Theatre this weekend. The can’t take us back to the ‘90s or the experience of watching these dances performed for the first time, but the only thing missing entirely will be the shock of the new—because choreographers around the world have been influenced by Merce generally and these two dances in particular. I think that if you’re a dance fan, you’re going to see this right away.

I emailed a few questions about the concert to Swinston and he was kind enough to reply.

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