Paul Taylor

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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Tripping on Memory Lane

Turning points in a life of dance: Eric Skinner moves on, Balanchine's grave, Paul Taylor's passing, Pacific Ballet Theatre days, 'Napoli'

A visit to Balanchine’s grave (and my mother’s).

The departure of Eric Skinner for a new life in Chicago.

A reunion of Pacific Ballet Theatre’s dancers.

The death of Paul Taylor.

These are the happenings of the past five weeks that have sent me tripping on Memory Lane, making me realize that the personal and the professional are, in my case as in many, inextricable from each other.

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George Balanchine, who died on April 30, 1983, is buried in Oakland Cemetery in Sag Harbor, Long Island, one of this country’s oldest whaling ports, and now, for better but more often worse, one of the Hamptons. He made no stipulation in his will about his final resting place, and some, according to Bernard Taper, his first biographer, thought he should have been buried in Venice, with Stravinsky and Diaghilev, or in Monte Carlo. But Balanchine detested Venice, was charmed by Sag Harbor on his visits there when he was in residence at his Southampton condominium (he reportedly told someone it reminded him of the South of France). And while he remained firmly rooted in Russian culture, he was without question the principal creator of American ballet style – an American citizen, and proud of it.

George Balanchine, right, with New York City Ballet dancers, in Amsterdam, August 26, 1965. Dutch National Archives, The Hague / Wikimedia Commons

Which made it entirely appropriate to bury him in this historic American cemetery, which contains a monument to whalers lost at sea, a marker for a soldier of the Revolutionary War who, and I quote, “Did not run away,” and the graves of novelists Nelson Algren and William Gaddis, playwright Lanford Wilson, writer and actor Spalding Gray, pioneering site-specific artist Gordon Matta-Clark, and, across the path from Balanchine, dual pianists Arthur Gold and Robert Fizdale, who were longtime friends of his. Close by as well lies Alexandra Danilova, his muse and common law wife, whose impact as ballerina and teacher on American dancers was nearly as powerful as his.

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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.

 


 

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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.

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Paul Taylor and White Bird, intertwined

The Paul Taylor Dance Company returns to Portland with sparkling versions of three mid-career Taylor dances

White Bird has brought the Paul Taylor Dance Company back to Portland for the sixth time this weekend, a remarkable dedication to the twisty elegance, dark undercurrents and sheer fun of Taylor’s work and the talent of his dancers. This particular visit touches all those bases with a program that spans a period in Taylor’s choreography after he’d moved past youthful exuberance toward a more layered, focused art. Arden Court (1981), Syzygy (1987) and Piazzolla Caldera (1997) are all well-made dances that retain Taylor’s playfulness and his darker side, on one hand, and integrate them into formal movement invention of the first order.

I’m going to talk a little about each of those pieces, but in the analytical process, I hope neither the delight of the visual spectacle nor the bone-deep communication of the dances gets forgotten. That experience is the most important aspect of a Taylor concert, after all, and the reason that the company’s many visits to Portland make sense.

Paul Taylor Dance Company, “Arden Court”/Photo by Paul B. Goode

Paul King and Walter Jaffe started White Bird 20 years ago, and the first company they brought to town was Taylor’s. I think of this decision as a sort of marker, a statement about how King and Jaffe thought then (and perhaps continue to think) about quality, creativity, importance. And it has served them—and their audience—well through those two decades.

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