Noguchi

ArtsWatch year in dance 2017

From ballet to world to contemporary, where the dance scene led, ArtsWatch followed. In 20 stories, a brisk stroll through the seasons.

Dance in Portland and Oregon has long been on the edge – often financially and sometimes artistically. Yet despite economic challenges you can’t keep it down: the city moves to a dance beat, and every week brings fresh performances. ArtsWatch writers got to a significant share of those shows in 2017, and wrote about them with breadth, wit, and insight.

The twenty ArtsWatch stories here don’t make up a “best of” list, though several of these shows could easily make one. They constitute, rather, a January-to-December snapshot of a rich and busy scene that runs from classical ballet to contemporary and experimental work.

 


 

We’re able to bring smart coverage to dance and other disciplines because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation. Just click on the “donate today” button below:

 


 

A dance down memory lane in 20 tales from ArtsWatch writers:

 

“Hopper’s Dinner”: an exuberant feast. Photo: Blaine Truitt Covert

A mellow Meadow like old times

Jan. 20: “Going to opening night of BodyVox’s Urban Meadow at Lincoln Performance Hall on Thursday evening was a little like dropping over for dinner with a bunch of old friends you haven’t seen in a while, and remembering why you liked them in the first place,” Bob Hicks wrote. “The table was set nicely, the food and wine were good, and everybody swapped old jokes and stories with easy familiarity. There was even a guest of honor, who was fondly feted, and who told a few good tales himself.” The “guest” was the wonderful dancer Erik Skinner, who was retiring from BodyVox (though not from performing) after this run, and the program included a bunch of old favorites that were themselves welcome guests.

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…