hip-hop

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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Rennie Harris, moving pure

The hip-hop dance legend talks about his roots, black dance, and his group Puremovement's four shows this week at White Bird

By RACHAEL CARNES

According to Lorenzo “Rennie” Harris, the three laws of hip-hop culture are “innovation, individuality and creativity.”

“Hip hop comes from the word ‘hippie,’ which means to either open your eyes or re-open your eyes — to be aware,” Harris says.

Kickstarted in the South Bronx as early as ’72 — at jams in parks, schools, community centers and clubs — and led by DJ Clive “Kool Herc” Campbell, Afrika Bambaataa and Pete DJ Jones, the global phenomenon we’ve come to appreciate as hip hop has many progenitors, each adding his or her own original spin to graffiti, deejaying, b-boying and emceeing.

Harris is one of them.

Rennie Harris Puremovement’s “Lifted.” Photo courtesy Brian Mengini

Harris founded his dance company, Rennie Harris Puremovement, in 1992, and in ’96 I spent a week driving Harris and his entourage to outreach events around Seattle. Twenty years later, it’s fun to catch up with him by phone all the way from Japan, where he’s currently in artistic residence.

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