this week in dance

ALVIN AILEY AMERICAN DANCE THEATER: ALL NEW

Rennie Harris’s specially commissioned “Home” examines the AIDS crisis in a positive way (photo by Paul Kolnik)

Alvin Ailey American Dance Theater
New York City Center
130 West 56th St. between Sixth & Seventh Aves.
Through January 1, $25-$150
212-581-1212
www.alvinailey.org
www.nycitycenter.org

In our exclusive twi-ny talk with Robert Battle last month, the new Alvin Ailey American Dance Theater artistic director discussed his plans for the future of the famed company, explaining, “If it’s one choreographer’s work, it’s harder to do that, but when you’re choosing works from many different choreographers in one season you get the sense of that yin and yang, that stretching forward of busting the whole thing wide open but yet keeping the traditional so that the company stays rooted.” Battle certainly busted things wide open on December 13, when he introduced an all-new program of works that provided a telling example of where he is heading. The evening began with a new production of Ailey’s 1970 piece, “Streams,” an elegant, balletic dance restaged by associate artistic director Masazumi Chaya with affection for Ailey’s original and Miloslav Kabelac’s percussion-and-xylophone-heavy score but lacking deep emotion. That was followed by Battle’s own short but wonderfully entertaining 1999 work, “Takademe,” in which Kirven James Boyd, wearing a ruffled red Missoni outfit, danced wildly to Naren Budhakar’s live vocal performance in what became a fun, scatlike speaking-in-tongues verbal and physical showdown. Thus, Battle kicked things off with the traditional, then announced his arrival, leading to the second half of the evening, the explosive pairing of Rennie Harris’s newly commissioned “Home” and the Ailey premiere of Ohad Naharin’s revelatory “Minus 16,” from 1999. In the former, fourteen dancers, including rehearsal director Matthew Rushing, all wearing street clothes, gathered together in a group before letting loose, moving to music by Dennis Ferrer and Raphael Xavier in a work inspired by actual responses to the “Fight HIV Your Way” initiative. A fanciful tribute to Ailey himself, who died of AIDS in 1989, “Home” is hopeful and uplifting, an excellent lead-in to the grand finale, one of the most cutting-edge works ever performed by AAADT.

Ohad Naharin’s “Minus 16” is a highlight of Alvin Ailey’s New York season at City Center (photo by Paul Kolnik)

With intermission not quite over, a solitary man stands near the front of the stage, dressed in Hasidic clothing, slowly beginning to move as the audience makes its way back inside the theater. It’s impossible not to initially think of the racial tensions that have long existed between African Americans and the Hasidic community in New York City, primarily in Crown Heights, but as he is joined by more dancers and the music turns from the John Buzon Trio’s “It Must Be True” to the traditional standard “Hava Nagila,” those thoughts disappear as Naharin’s unique Gaga movement language takes over. The central part of the piece is an exhilarating section in which eighteen dancers (the number eighteen represents the word “life” in Hebrew) are seated in a semicircle, performing on, under, on top of, or next to their chairs as they follow one another around one by one in order as verses are added on to the Passover children’s song “Echad Mi Yode’a.” It’s as if City Center has suddenly become home to a breathtaking, rather unique bar mitzvah celebration, a riotous party that soon involves inviting audience members, including yours truly, onto the stage to join in duets with members of the Ailey crew. (We have to thank the marvelous Belen Estrada for not making us look like a complete idiot up there.) Things eventually slow down but pick up yet again in Naharin’s sparkling piece, which also uses music by Vivaldi and the Beach Boys in addition to “Over the Rainbow” and “Hooray for Hollywood.” A virtuoso work that signals a major step for AAADT, “Minus 16” is dedicated to Naharin’s late wife, Mari Kajiwara, who was an Ailey dancer from 1970 to 1984 and Alvin Ailey’s rehearsal assistant. Battle made a major statement with this all-new program, one that promises a bright and exciting future under his leadership. (“Streams,” “Home,” and “Minus 16” will all be performed on December 21 at 8:00, along with Joyce Trisler’s “Journey.” “Home” is also scheduled for December 23, 28, 30, and 31, with “Minus 16” scheduled for December 25, 28, and 31, at varying times.)

LITTLE RED RIDING HOOD: EPITAPH

The Acorn Theater at Theatre Row
410 West 42nd St. between Ninth & Tenth Aves.
Tuesday, December 20, $51.25 – $71.25, 7:00
www.hdcny.com

The Hip-Hop Dance Conservatory Repertory Company is presenting a very different take on the classic fairy tale “Little Red Riding Hood” on December 20 with Epitaph. Artistic director Safi A. Thomas has created a brutal, violent version of Charles Perrault’s story of the girl in red who meets the big bad wolf, incorporating elements from tales by such other masters as the Brothers Grimm and Hans Christian Andersen (“The Little Match Girl”). The thirty-minute piece, which explores issues of gender, sexuality, patriarchy, and female empowerment, will be followed by a thirty-minute Q&A with the cast and creative team and a forty-five-minute reception. Premium tickets include a commemorative booklet, with part of the proceeds benefiting the Crime Victims Treatment Center of St. Luke’s Roosevelt Hospital.

FIVE POINTS: TAKE DANCE + PULSE — PART II

Merce Cunningham Dance Studios
55 Bethune St.
December 15-16 at 9:00, December 17 at 8:00, $20
800-838-3006
www.merce.org

As the Merce Cunningham Dance Company prepares for its farewell performances December 29-31 at the Park Avenue Armory, the troupe’s studios on Bethune St. will also be closing up shop. One of the last shows to take place there will be Five Points, in which TAKE Dance and the Pulse music collective pay tribute to Cunningham’s revolutionary synesthetic style by presenting five new works set to original post-classical jazz compositions. Touch and sound, science and art combine in unique ways in pieces by choreographer Takehiro Ueyama and composer Melissa Dunphy (“Summer Collection 2012”), Kile Hotchkiss and Pulse founder Joseph C. Phillips, Jr. (“The Substance of Things Unseen”), Milan Misko and Jamie Begian (“From Over Here”), Jill Echo and JC Sanford (“Views from the Inside”), and Kristen Arnold and Joshua Shneider (“unclearly departed”). The works will be performed by dancers Brynt Beitman, John Eirich, Jillian Hervey, Gina Ianni, Clinton Edward Martin, Sarah Mettin, Nana Tsuda Misko, Lynda Senisi, Kristi Tornga, Marie Zvosec, Misko, Hotchkiss, and Arnold and musicians Hannah Levinson (viola), Jacob Garchik (accordion, laptop, trombone), Ana Milosavljevic (violin/Viper), Chris Reza (woodwinds), Mariel Roberts (cello). Tickets must be reserved in advance; there will be no sales at the door.

STREB: KISS THE AIR!

ASCENSION is part of STREB Extreme Action’s special presentation at the Park Avenue Armory (photo by Tom Caravaglia)

Park Avenue Armory
643 Park Ave. at 67th St.
December 14-22, $35, 7:30
212-933-5812
www.armoryonpark.org
www.streb.org

There’s good reason New York-based choreographer Elizabeth Streb calls her company Extreme Action: The diversely talented troupe is known for performing daring acrobatic feats that push the boundaries of contemporary dance. From December 14 to 22, STREB Extreme Action will be at the Park Avenue Armory displaying their vast skills in Kiss the Air!, a program that includes two dazzling pieces that were previewed this summer in special free outdoor presentations. In “Ascension,” nine dancers take individual turns and team up on a twenty-one-foot moving ladder, risking life and limb as it circles around and around to a score by master percussionist David Van Tieghem. The breathtaking piece debuted this summer in Gansevoort Plaza as part of Whitney on Site: New Commissions Downtown; for the indoor version, Robert Wierzel’s lighting design will add another aspect to the work. This summer Streb, a MacArthur Genius, also premiered the eye-popping “Human Fountain” as part of the River to River Festival’s Extraordinary Moves program at the World Financial Center, in which sixteen daredevils — er, dancers — took swan dives off a thirty-foot, three-story structural installation. Inspired by the Bellagio fountain in Las Vegas, they fly through the air (with the greatest of ease?) in tandems, sometimes crossing one another’s path, landing on an inflatable mat that cushions their fall. “Human Fountain is another thrilling example of how STREB Extreme Action goes for, well, the extreme in its challenging repertoire. Streb and several of her dancers will participate in an artist talk following the December 15 performance, moderated by Kristy Edmunds. Kiss the Air! is the second of three dance presentations at the Park Avenue Armory, following Shen Wei Dance Arts and concluding with the Merce Cunningham Dance Company’s farewell December 29-31.

KISS THE AIR! is a one-of-a-kind experience at Park Avenue Armory (photo by twi-ny/mdr)

Update: The STREB Extreme Action Heroes announce their arrival in the Park Avenue Armory in typically extreme fashion, individually riding an overhead wire and slamming face-first into a vertical mat, letting the audience know right from the start that they are in for a very different kind of performance, one filled with impressive feats of daring and plenty of good humor. A unique melding of modern dance, ballet, gymnastics, cheerleading, aerial arts, and stunt work, Kiss the Air! is a five-ring circus that tests the limits of the human body over the course of seventy thrilling minutes, supplemented by large screens displaying live close-up footage and action architect and choreographer Elizabeth Streb’s original layouts. As the dancers make their way across five architectural set-ups, the crowd is encouraged to scream out with enthusiasm, take photographs and video, and tweet away, knocking down the barrier between viewer and performer. Action engineers Jackie Carlson, John Kasten, Sarah Callan, Zaire Baptiste, Samantha Jakas, Leonardo Giron Torres, Cassandre Joseph, Felix Hess, Daniel Rysak, and associate artistic director Fabio Tavares da Silva, along with seven additional performers, manipulate one another in swinging harnesses, climb over a moving ladder, bounce their bodies up and down on mats, dive off a thirty-foot structure, and splash about in a shallow pool, getting some audience members wet (ponchos are provided) as they run nonstop through eleven numbers, including “Swing,” “Popaction,” “Falling Sideways,” “Drop,” “Catch,” “Wave,” and “Kiss the Water.” The abovementioned showpieces, “Ascension” and “Human Fountain,” turn out to be not quite as dazzling in the armory as they were outside last summer, as the dancers (understandably) take longer pauses to catch their breath and the audience is seated farther away, but they still are impressive, enhanced by Robert Wierzel’s lighting and David Van Tieghem´s sound design and music. A one-of-a-kind experience for children and adults of all ages, Kiss the Air! continues through December 22.

FIRST SATURDAY: YOUTH AND BEAUTY

Luigi Lucioni, “Paul Cadmus,” oil on canvas, 1928, part of “Youth and Beauty: Art of the American Twenties” (Brooklyn Museum, Dick S. Ramsay Fund)

Brooklyn Museum
200 Eastern Parkway
Saturday, December 3, free, 5:00 – 11:00 (some events require free tickets distributed in advance at the Visitor Center)
212-864-5400
www.brooklynmuseum.org

Don’t be fooled by the theme of this month’s First Saturday party at the Brooklyn Museum. It might be called “Youth and Beauty,” but you can expect an old-fashioned good time, as it refers to the Eastern Parkway institution’s new exhibit subtitled “Art of the American Twenties,” featuring works by such artists as Thomas Hart Benton, Edward Hopper, Gaston Lachaise, Georgia O’Keeffe, and Alfred Stieglitz. On tap for the free evening is jazz and blues from Hazmat Modine (5:00 to 7:00), a 1920s costume contest (5:30), a collaboration between spoken-word artists and musicians and tap dancer Lisa La Touche that references the Jazz Age and the Harlem Renaissance (5:30), curator Catherine Morris discussing “Eva Hesse Spectres 1960” (6:00), ballroom dance lessons from Nathan Bugh, including the Charleston and the Lindy Hop (6:00), a painting workshop (6:30 – 8:30), a tour of “Youth and Beauty” with museum guide Emily Sachar (7:00), a dance party hosted by the Harlem Renaissance Orchestra (8:00 – 10:00), Farah Griffin discussing Wallace Thurman’s 1929 book, The Blacker the Berry (9:00), and a bodybuilding showcase hosted by Phil Sottile (9:00). The young and the beautiful can always be found at the Brooklyn Museum on First Saturdays, but this month more than ever.

SHEN WEI DANCE ARTS AT THE PARK AVENUE ARMORY

RITE OF SPRING kicks off Shen Wei triptych at the Park Avenue Armory (photo by Stephanie Berger)

Park Avenue Armory
643 Park Ave. at 67th St.
November 29 – December 4, $35, 7:30
212-933-5812
www.armoryonpark.org
www.shenweidancearts.org

Since its founding ten years ago, Shen Wei Dance Arts has been touring around the world, in traditional venues as well as unique indoor and outdoor locations. Based in New York City, SWDA has performed at the Joyce and the Lincoln Center Festival while also staging site-specific pieces for Judson Memorial Church, the Guggenheim Rotunda, the Metropolitan Museum of Art’s Engelhard Court, and, last fall, a two-day marathon of Re-(Part III) in Duffy Square, Grand Central Terminal, several parks, outside the New York Public Library, at Columbia, and in the 42nd St. subway station. This week they return to the Park Avenue Armory, where in 2009 artistic director Shen Wei created Behind Resonance, an exciting, involving work set in and around Ernesto Neto’s massive “Anthropodino” sculptural installation. As part of its tenth anniversary celebration, SWDA will perform 2003’s Rite of Spring (with music by Igor Stravinsky), 2000’s Folding (set to music by John Tavener along with Tibetan Buddhist chants), and the new site-specific multimedia commission Undivided Divided (scored by Sō Percussion), created specifically for the armory’s Wade Thompson Drill Hall. All choreography is by Shen Wei and lighting by Jennifer Tipton, with ten lead dancers (Cecily Campbell, Sarah Lisette Chiesa, Evan Copeland, Andrew Cowan, James Healey, Kate Jewett, Cynthia Koppe, Sara Procopio, Joan Wadopian, and Brandon Whited) and nearly two dozen additional dancers (including Shen Wei). Shen Wei favors slow, precise movement and elegant nudity, resulting in intoxicating works that lure you in with their sheer beauty. She Wei’s performances are the first of a triple play of dance at the Park Avenue Armory, followed December 14-22 by STREB’s Kiss the Air and concluding December 29-31 with the Merce Cunningham Dance Company’s grand finale, a series of site-specific Events that will mark the last performances ever by the noted company.

FOLDING brings origami to life in elegant dance (photo by Stephanie Berger)

Update: As he did with Behind Resonance two years ago, New York City-based dancer-choreographer Shen Wei again turns the Park Avenue Armory’s massive Wade Thompson Drill Hall into an intimate gathering that celebrates his unique movement language, presenting two repertory works and a new site-specific piece as part of Shen Wei Dance Arts’ tenth anniversary. The evening begins with a restaging of 2003’s Rite of Spring, set to Fazil Say’s version of Stravinsky’s 1913 ballet, in which as many as sixteen dancers make their way in and around a crooked chalked grid, running to the edges, moving in formation, pausing for long moments of inactivity, and rolling on the floor, their black and gray costumes streaked with white. That is followed by 2000’s Folding, in which the dancers first appear in long red skirts and odd head extensions (evoking Robert Wilson and Matthew Barney), gliding slowly across a white reflective surface, soon evolving into duets with the performers in black, their powdered bodies folding into each other, leading to a finale that recalls, of all things, Close Encounters of the Third Kind.

UNDIVIDED DIVIDED is sure to get the audience’s undivided attention (photo by Stephanie Berger)

After a thirty-minute intermission in which the audience must leave the drill hall, everyone returns for the grand finale, the specially commissioned Undivided Divided, a whirlwind tour-de-force featuring thirty topless male and female dancers situated throughout the space, rolling around in paint on a long canvas, throwing themselves against the walls of a plexiglass box, climbing atop and inside a set of plastic cubes, performing intimate duets confined to a small rectangular area, amid other unique and unusual set-ups enhanced by visual projections on the floor. The audience can remain in their seats but are encouraged to remove their shoes and walk up and down pathways that allow them to come face-to-face with the dancers as they writhe about, some making eye contact, others lost in fantasy, like living sculptures in a museum. Undivided Divided is an exhilarating experience, seemingly for the dancers as much as for the crowd, an exuberant display of physicality that goes beyond mere sexuality and voyeurism, offering an energizing and thrillingly different relationship between audience and performer.

TWI-NY TALK: ROBERT BATTLE

New Alvin Ailey American Dance Theater artistic director Robert Battle (c.) poses with dancers he has invited to join the company (photo by Andrew Eccles)

Alvin Ailey American Dance Theater
New York City Center
130 West 56th St. between Sixth & Seventh Aves.
November 30 – January 1, $25-$150
212-581-1212
www.alvinailey.org
www.nycitycenter.org

Founded in 1958, Alvin Ailey American Dance Theater had only two artistic directors over the course of its first fifty-two years, beginning with Ailey himself, who led the company until his death from AIDS in 1989, followed by Judith Jamison, who continued in the role through this summer, when in July she named her successor, Robert Battle. The thirty-eight-year-old Miami native has had a long affiliation with AAADT, having been an artist-in-residence since 1999, and he has had several works performed by the company, including “The Hunt,” “In/Side,” and “Love Stories,” a collaboration with Jamison and Rennie Harris.

Battle, who studied at Juilliard, danced with Parsons Dance Company, started his own group, Battleworks Dance Company, and was named a “Master of African American Choreography” by the Kennedy Center in 2005, is presenting his inaugural City Center season as AAADT artistic director from November 30 through January 1. The annual five-week event will feature Paul Taylor’s “Arden Court” (in his Ailey debut), Ohad Naharin’s interactive “Minus 16,” Jamison’s “Forgotten Time,” the world premiere of Harris’s AIDS-related “Home,” new productions of Joyce Trisler’s “Journey” and Alvin Ailey’s “Streams,” and several pieces by Battle, most notably the Ailey premiere of “Takademe.” Select performances of a number of works will include live music by such special guests as John Legend, Naren Budhkar, the Knights, and others. With the City Center season just a few weeks away, Battle talked with twi-ny about legacy, responsibility, and the precipice of discovery.

twi-ny: You are now only the third artistic director in the history of Alvin Ailey American Dance Theater. What is your greatest fear?

Robert Battle: I think that’s an unknown. Fear is not for me something that I turn on and off. Anybody, especially an artist, always has a healthy dose of fear mixed with optimism, because those two opposing forces is what creates energy, the energy that is the creative force. So I think it’s a healthy mixture of both of those things.

twi-ny: What are you looking forward to the most?

Robert Battle: I’m looking forward to watching and reveling at the dancers and the delights of the work that is coming in to the repertory and watching and being a part of taking the company into the future. That’s what I look forward to the most.

twi-ny: How did you go about selecting and grouping the dances for this year’s City Center season, which includes the company premiere of your own “Takademe”? Were you looking for an overriding theme?

Robert Battle has taken over the reins of Alvin Ailey American Dance Theater from Judith Jamison (photo by Andrew Eccles)

Robert Battle: Yes, the overriding theme is past, present, and future. We’re a repertory company — in a way, we’re a repository for great modern dance works — so, of course, looking back at Mr. Ailey’s work, Joyce Trisler’s “Journey,” created in 1958, all of these works are part of looking back and new productions of those works. Being in the present, looking at Rennie Harris’s work and his commission [“Home”] — he’s a hip-hop choreographer, so he uses hip-hop as his language. That is a part of the present; hip-hop is on everybody’s mind, radio, whatever it may be, but dealing with hip-hop to tell the stories of people who are surviving and thriving with HIV/AIDS is a wonderful tribute because it’s about the celebration of life. And then looking at works to me that echo the future, like Ohad Naharin’s “Minus 16,” which breaks the fourth wall: It invites the audience onto the stage, it has audience participation, it has a whole new way of moving for the dancers. So in that way we’re looking at the future. So we’re looking at all three of those things.

twi-ny: Who are some of the new choreographers you’d like to bring into the extended Ailey family?

Robert Battle: Aha — that, I cannot say [laughs], with deference to all choreographers who may want to be a part of this. I can’t just list one or two, but I really want the work to express the complexity of the world, society. It should be a reflection of that, so that you have choreographers of different races and backgrounds and approaches and themes bringing their voice to our voice. That’s what Mr. Ailey wanted, what Ms. Jamison continued, and what I will continue, to look far and wide, and to keep the audience and the dancers on that precipice of discovery.

twi-ny: With that in mind, how are you balancing the Ailey tradition with, perhaps, the urge to bust things wide open and initiate potential change under your leadership?

Robert Battle: I think that question could have a period at the end. That is what I am doing, balancing the traditional with the sometimes nontraditional. I think the notion of doing something without it having some connection to what is already here is not something I’m interested in. I’m really interested in blending the two. And that’s because this is a repertory company; that’s why I’m able to do that. If it’s one choreographer’s work, it’s harder to do that, but when you’re choosing works from many different choreographers in one season you get the sense of that yin and yang, that stretching forward of busting the whole thing wide open but yet keeping the traditional so that the company stays rooted. That’s why it began in the first place; celebrating the African American tradition and culture and experience in this country but also expanding on that idea is what I’m trying to do.