Pretty Creatives

July: Dancing after dark

Oregon's summer dance season takes to the open air and starry nights with salsa, silent disco, and even a few indoor shows

The international Silent Disco movement: Next stop Tillikum Bridge on July 4.

We’re heading outside this month for much of our dance intake, enjoying performances under the stars—although in some cases, we are the performers; you might find us dancing under the fireworks along the Tilikum Bridge as part of the July 4th HeatBeat Silent Disco. We’ll be drinking in new and veteran talent, too, some of it homegrown, the rest of it from well beyond our city limits. Isn’t this time of year delicious?


International and cultural dance styles


Dancing on the roof with Son Latino, June 2018. Next stop: Gateway Discovery Park Plaza.


Salsa in the Park
Son Latino/Portland Parks and Recreation
6 to 8 p.m., July 20
Gateway Discovery Park Plaza, 10520 N.E. Halsey St.

You may have met up with Son Latino around town, maybe at a Norse Hall Salsa Sunday or one of those Rooftop Salsa nights: the Latin dance and event company stages performances and hosts weekly and monthly dance socials as well as classes and workshops. If you’re not yet a confirmed salsero, however, this evening should be a friendly, low-pressure introduction to Latin dance. Founders Rosi and Leo, veterans of salsa congresses up and down the West Coast, perform first, to show us how it’s done, then teach introductory salsa, bachata and merengue lessons in the park, accompanied by a DJ. A community dance follows: two-left-footers are welcome, and you don’t need to bring a partner. Pack a picnic and make a night of it.

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ArtsWatch Weekly: hail & farewell

Dance and dancers on the move, jazz in Cathedral Park, women composers, taiko and Bach, Mozart's spicy little sex opera

Last Thursday at Lincoln Performance Hall, the line to pick up tickets for Éowyn Emerald & Dancers’ performance ran across the lobby, down a partial stairwell and up the other side, like a restless snake shifting and stretching in the midday sun. Eventually the crowd slithered into the theater’s 450-plus seats, packing the place with people eager to see the company’s final show of contemporary dance in Portland and give it one last cheer before Emerald & Co. move to Scotland, where they’ve scored enthusiastically reviewed successes during two recent appearances at the annual Edinburgh Fringe Festival.

Emerald, on top of the world in Edinburgh for the 2014 Fringe Festival.

As it happens, the first piece I wrote for ArtsWatch, back in January 2012, was about Emerald’s first show in town as a choreographer, at BodyVox, where she’d been dancing with BodyVox-2. Now here I was again, with a lot of other people, to witness her farewell gig in town. An eagerness bubbled in the crowd, a sense that a fresh contemporary voice was moving on to new things, and ought not be let to slip away without a warm farewell.

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ArtsWatch Weekly: Conduit’s last dance, Russian lost love, the color of race, chamber tales

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

For more than 20 years Conduit was a vital link – in many ways, the vital link – in Portland’s chain of contemporary dance organizations. A home base for some of the city’s most creative dancemakers, it was also the place that visiting choreographers and dancers made their temporary work home when they were in town. Major work and vital experiments were created here by a host of talented people. Mary Oslund, Tere Mathern, Linda K. Johnson, Gregg Bielemeier, V. Keith Goodman, Jim McGinn, Katherine Longstreth: the list goes on and on, creating a tapestry of the tale of a very large and significant chapter in the history of the city’s dance.

It’s all history now, or will be as of July 23, when Conduit hangs up its hat for good, at least in its current form. The party’s over – but not before an actual party, A Wake for Conduit, fills the Ford Building for a final celebration this Wednesday, July 13. Bring your stories, and put on your dancing shoes. Jamuna Chiarini has the story for ArtsWatch readers.

There Mathern's "Gather: a dance about convergence," performed in 2012 in Conduit's original home in the Pythian Building. Photo: Gordon Wilson

There Mathern’s “Gather: a dance about convergence,” performed in 2012 in Conduit’s original home in the Pythian Building. Photo: Gordon Wilson

 


 

A TALE OF RUSSIAN LOVE LOST. Bruce Browne reviews Portland Opera’s new production of Eugene Onegin, which continues in the relatively cozy Newmark Theatre through July 26. Tchaikovsky’s opera, based on Alexander Pushkin’s extraordinarily popular Russian verse novel, is re-set in this production to the late years of the Soviet Union and the early years of the post-Soviet era, a switch that works for Browne: “The reason this production works so well is that the actors/singers embraced the change.” He particularly praises Jennifer Forni as Tatiana, the country miss who’s spurned by the cold title character: “Forni’s voice has the power and brilliance of a roman candle, and yet is never pushed, always in control. She has the best messa di voce (getting softer and louder on one note) I’ve heard in a long time. And she convincingly brought to life the facets of her teenage angst, brought about attempting to deal with Onegin.”

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