this week in dance

FRIDAYS AT NOON: AM I TOO CLOSE? MEGAN SPRENGER EXPLORES THE QUESTION

Megan Sprenger continues her ongoing examination of the relationship between audience and performer with free sneak peek at the 92nd St. Y (photo by Yi-chun Wu)

92nd St. Y, Buttenwieser Hall
395 Lexington Ave. at 92nd St.
Friday, February 11, free, 12 noon
212-415-5500
www.92y.org

Back in May 2009, Megan Sprenger and her mvworks company presented …WITHIN US. at P.S. 122, a show that we called “a brilliant evening-length piece of confrontational dance theater that gets right in the audience’s face — literally.” Sprenger will be at the 92nd St. Y on February 11 as part of the Harkness Dance Center’s free Fridays at Noon series, discussing the ever-present question “Am I too close?” with fellow choreographers Sarah Maxfield, who runs the web-based performance relay One-Shot, and Yanira Castro, whose latest project is called a canary torsi. The trio will offer sneak peeks at works-in-progress, including Sprenger’s HOLD MY HAND, and will also participate in a Q&A with the audience, with whom they cannot promise that they won’t get too close.

TWI-NY TALK: WALLY CARDONA

Wally Cardona will hold INTERVENTION #5 on February 12 at the Baryshnikov Arts Center (photo by Peggy Kaplan / artwork by Adam Shecter)

Baryshnikov Arts Center
450 West 37th St.
Saturday, February 12, $15, 8:30
www.bacnyc.org
www.wcvismorphing.org

On January 8, Brooklyn-based dancer and choreographer Wally Cardona held the first of three New York City “Interventions” at the Baryshnikov Arts Center, intimate, experimental performances created over a whirlwind five-day collaboration with a specially selected expert from outside of the traditional dance community. Working with sound artist and activist Robert Sember, Cardona developed a complex piece involving verbal and nonverbal communication and movement over the course of a series of repeated scenes, each with unique and challenging variations. On February 12, Cardona will stage INTERVENTION #5 with Martin Kapell, a design partner and architect at WASA/Studio A who specializes in designing spaces for the performing and visual arts, including the Baryshnikov Arts Center itself. “My commitment to architecture springs from the principle that everyone is entitled to the benefits of intelligent design,” Kapell notes in his online bio, “and that architecture, when approached from this belief, can directly enhance and improve the way we live, work, learn, and play.” Cardona and Kapell are just beginning their collaboration, which will be presented Saturday night at BAC; Cardona discussed that and more in a twi-ny talk held shortly after the fourth Intervention.

twi-ny: In the past you’ve collaborated with such sound, visual, and movement artists as Phil Kline, Rahel Vonmoos, the Brooklyn Youth Chorus, Maya Ciarrocchi, ETHEL, Douglas Fanning, and now Robert Sember. What is the anticipation like waiting to hear which collaborator has been selected for you? Do you have any inklings yet on who your collaborators will be for #5 and #6?

Wally Cardona: I now know Intervention #5 will be with Martin Kapell, and that his profession is in architecture and design. Anticipation: I suppose that begins to show up — and take on various emotional states, depending on my frame of mind — on the day of our first meeting. For me, a powerful thing in each Intervention is not just the fact that I’m meeting a person from a very different discipline or field of inquiry but that I’m meeting a complete stranger. And with the agreement that we’ll spend a week together. The first thing that happens is I perform my “empty solo” for them, and I have to confess that with each Intervention, I begin the second day wondering if the person will show up again.

twi-ny: In New York City, you’ve performed at BAM, the Joyce and Joyce SoHo, Danspace Project, the Duke, and DTW. You’re currently working at BAC. How is the space there informing the new work?

Wally Cardona: I’m glad you brought up BAC! They’ve been incredibly generous in supporting and presenting three Interventions. Each time, you never know what you’re gonna get. With a working period radically condensed to five days and an agreement to make the resources usually available to me as a choreographer also available to each “expert,” all questions re: lights, sound, audience set-up, running time, etc., are usually unknown until the last day. So, all our methods and coping mechanisms are challenged — presenter, tech crew, artist, expert, and perhaps audience.

Robert Sember, Wally Cardona, and Francis Stansky perform the challenging and inventive INTERVENTION #4 on January 8 at BAC

twi-ny: What was it like to have Misha witness INTERVENTION #4?

Wally Cardona: Misha’s got soooo much information in his body. Something wonderful happens when being watched by a person with that amount of knowledge. I’m not sure I can explain it. It’s like I see more of myself. And one thing I find incredibly inspiring about Misha is how he is able to use a minimal amount of force to maximal effect. I feel like a bull in a china shop in comparison.

twi-ny: You have given yourself a mere five days to work with each collaborator at each venue. Why do that to yourself?

Wally Cardona: The entire construct of the collaboration is not like any I’ve experienced before. The point really is to initiate — rather than find mutual agreement or choreograph a “new work by Wally Cardona.” If an expert’s desire or request puts me in an uncomfortable position that feels at odds with my own preference, patterns, likes, or dislikes . . . I’m happy. So it’s kind of like a self-imposed intervention and they are aggressive, in their own bizarre way. Each puts me on shaky ground, demands my constant attention and works best when my generosity overrides my fear.

twi-ny: The word “intervention” works on several levels but immediately conjures up an action taken against one person or event. Why did you choose it as the title of this series of collaborations, since the word “collaboration” can be interpreted to be in direct conflict with “intervention”?

Wally Cardona: People often wonder how an Intervention actually works. This is part of a paragraph given to each “expert” before we meet: “We begin as strangers and get acquainted through a weeklong working process. On Day One, I perform my ‘empty solo’ for each collaborator as a starting point and form of introduction. I present each expert with the same solo, which is designed to bend to his/her interpretation, desire, or aesthetics. What I am most interested in is what each expert might want to see even though he/she might not yet know how to make it manifest; how to do this is to be discovered, together, in the studio. Each expert is asked to think of me as a tool to be utilized and exercised, and I, in turn, call upon my own expertise to realize his/her vision. There is no system to the week and how it unfolds; it is unique to each expert. What we know is that a public performance is the final result, which the expert cannot make without me, and for which I am reliant on the expert’s opinion.”

INTERVENTION #5 takes place February 12 at the Baryshnikov Arts Center. INTERVENTION #6 is scheduled for March 26.

LUNAR NEW YEAR FESTIVAL

Qi Baishi, “Two Rabbits,” hanging scroll, ink and color on paper, twentieth century (The Metropolitan Museum of Art, New York, Gift of Robert Hatfield Ellsworth, in memory of La Ferne Hatfield Ellsworth, 1986)

Metropolitan Museum of Art
1000 Fifth Ave. at 82nd St.
February 4-6, most events free with recommended admission of $20 adults (children under twelve free)
212-570-3828
www.metmuseum.org

The celebration of the Year of the Rabbit heads uptown for the Met’s three-day Lunar New Year Festival, beginning tonight at 6:00 with “The Emperor’s Private Paradise: Its Survival and Conservation,” a lecture by Henry Tzu Ng held in conjunction with the exhibition “The Emperor’s Private Paradise: Treasures from the Forbidden City.” At 8:00, David Rakoff hosts “Gilded Ink: Write like an Emperor,” an evening of prizewinning short stories by college students, preceded by a tour of “The Emperor’s Private Paradise” at 6:30. Tomorrow the Year of the Rabbit hops all over the museum, with a Sesame Street puppet show at 11:00, Storytime in Nolen Library at 11:45, a lion dance procession at 12:15, a fan and ribbon dance, calligraphy and face painting, a costume demonstration, and a drawing workshop at 1:00, a youth orchestra concert at 1:30, a tea ceremony at 2:15, and Peking Opera performances of LITTLE RED RIDING HOOD at 3:00 (one hour children’s show, $15) and 7:00 (full concert with acrobatics, live music and dance, martial arts, and more, $30). The festivities conclude on Sunday with a special look at “The Emperor’s Private Paradise,” featuring a series of lectures beginning at 2:00, including Maxwell K. Hearn’s “Art, Artifice, and Identity—The World of the Qianlong Emperor,” Nancy Berliner’s “A Chinese Garden in Space and over Time,” and Ben Wang’s “The Musicality of Chinese Poetry and Calligraphy in the World of the Qianlong Emperor.”

FIRST SATURDAYS: FRAMING OUR HISTORY

Hank Willis Thomas will discuss his long-term installation, “Unbranded,” at the Brooklyn Museum on Saturday night (Hank Willis Thomas, “Why wait another day to be adorable? Tell your beautician ‘Relax me,’” chromogenic photograph, 1968/2007)

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

For its February First Saturdays free program, the Brooklyn Museum is honoring Black History Month with its usual wide-ranging schedule of events. Kicking things off at 5:00 will be the Fat Cat Big Band, with Jade Synstelien leading a group of up to sixteen musicians through jazz and bebop. At 5:30, Denzel Washington’s THE GREAT DEBATERS (2007) will be shown, introduced by author Trey Ells (RIGHT HERE, RIGHT NOW), who will also participate in a Q&A following the screening. At 6:00, curator and writer Kalia Brooks will discuss the exhibition “Lorna Simpson: Gathered”: Simpson’s photographs will also be the focus of the 6:30 Hands-On Art workshop, and people are encouraged to bring their own photos to add to a collaborative interactive project as well. At 7:00, curator Sharon Matt Atkins will take visitors on a tour of “Norman Rockwell: Behind the Camera,” while at 8:00 a student guide will give a Young Voices gallery talk on the installation “American Identities: A New Look.” The always hot dance party gets under way at 8:00, hosted by DJ Stormin’ Norman, who will be playing hip-hop and soul tunes. And at 9:00, Hank Willis Thomas will discuss his long-term installation, “Unbranded,” while at the same time the Smalls Jazz Club All-Stars will take listeners back to the Golden Age of music.

THE YEAR OF THE RABBIT: 4709

The annual Chinatown Lunar New Year festivities will welcome in the Year of the Rabbit (photo by twi-ny/mdr)

The annual Chinatown Lunar New Year festivities will welcome in the Year of the Rabbit (photo by twi-ny/mdr)

Sara D. Roosevelt Park (and other venues)
East Houston St. between Forsythe & Chrystie Sts.
February 3-12
Admission: free
www.betterchinatown.com

The Year of the Rabbit is upon us, and the celebration kicks into full swing today, with the Chinese New Year’s Day Firecracker Ceremony and Cultural Festival in Sara D. Roosevelt Park beginning at 11:00, with live music and dance, speeches by politicians, drum groups, lion dancers making their way through local businesses, and lots of loud noises to ward off evil spirits and welcome in a prosperous new year. On Sunday, the twelfth annual Chinatown Lunar New Year Parade & Festival takes place, with cultural booths in the park (11:30 – 4:00) and a parade with floats beginning at 1:00 in Minuscule Italy. The annual march through Flushing, which also features lion dances, drummers, and fireworks, is scheduled for Saturday, February 12. For the next few weeks, Chinatown restaurants will be offering all kinds of special New Year dinners; it’s a tradition to eat a whole fish, with the head on, to bring good luck. Gōng xǐ fā cái!

REELABILITIES: NY DISABILITIES FILM FESTIVAL 2011

JCC in Manhattan (and other venues)
334 Amsterdam Ave. at 76th St.
February 3-8
646-505-4444
www.jccmanhattan.org
www.reelabilities.org

The third annual ReelAbilities NY Disabilities Film Festival returns to the JCC in Manhattan and other locations throughout the city February 3-8, “dedicated to promoting awareness and appreciation of the lives, stories, and artistic expressions of people with different disabilities.” The 2011 lineup includes eleven feature films and documentaries that examine Down syndrome (Marcos Carnevale’s ANITA and Antonio Naharro and Álvaro Pastor’s ME TOO), brain damage (Paul Nadler’s BRAIN DAMADJ’D . . . TAKE II), mental illness (Ken Paul Rosenthal’s CROOKED BEAUTY), blindness (Lu Yang’s MY SPECTACULAR THEATER), manic depression (Ofir Trainin’s WANDERING EYES), war injuries (Craig and Brent Renaud’s WARRIOR CHAMPIONS), and autism (Geraldine Wurzburg’s WRETCHES & JABBERERS), among other psychological and physical ailments. All screenings will be followed by discussions with the filmmakers, experts, and/or subjects, in addition to such special panels as “Diversity on Sesame Street,” with writer Emily Perl Kingsley, whose son was born with Down syndrome, as well as concerts by Flame and the FREE Players, a performance by Heidi Latsky Dance, “Navigating Disability” and “Seeing with Photography” art exhibits, an interactive Music for Autism program, a presentation by the Our Time Theater Company, and an American Sign Language tour of “Charles LeDray: workworkworkworkwork” at the Whitney.

Daniel (Pablo Pineda) and Laura (Lola Dueñas) develop a unique relationship in YO, TAMBIÉN

YO, TAMBIÉN (ME, TOO) (Antonio Naharro & Álvaro Pastor, 2009)
Saturday, February 5, JCC in Manhattan, 9:15
Sunday, February 6, Cinema Arts Centre, Huntington, 1:00
www.yotambienlapelicula.com

Written and directed by first-time feature filmmakers Antonio Naharro and Álvaro Pastor, ME, TOO is a beautifully told story about a man with Down syndrome trying to make it in the so-called normal world. When Daniel (Pablo Pineda) first shows up for work at a government disability agency in Sevilla, Laura (Lola Dueñas) mistakes him for someone who has come seeking help, not the person who will be occupying the desk next to hers on a daily basis. Daniel does not see himself as a victim, and he is clearly not a charity case; instead, he has earned a university degree and refuses to allow his disease — or, more important, the way his disease is viewed by others — to limit the things he can accomplish in life. Soon Daniel and Laura grow very close, but she is unable to let their relationship reach the next level, regardless of how much they care for each other — and how many times she instead goes to a local bar and picks up strangers. Meanwhile, Luisa (Lourdes Naharro) and Pedro (Daniel Parejo), who both have Down syndrome and are members of the Danza Mobile dance company, which works with people suffering from intellectual disabilities, have fallen in love, but they feel free to express it, even in public, which gets them in trouble with Luisa’s mother (Catalina Lladó). The contrast between the two romances, one of which is “mixed” but both of which are complicated, is well handled by Naharro (who also plays Daniel’s older brother in the film) and Pastor, steering clear of the kind of sappy melodrama that could have compromised the film’s point of view. They deal with the issue of the infantilization and stereotyping of people with Down syndrome with just the right amount of honesty and subtlety to avoid becoming a pedantic message movie. Both Dueñas, an Almodóvar regular, and Pineda, making his cinematic debut, won Silver Shells for their acting at the 2009 San Sebastian Film Festival. Pineda is in fact the first person with Down syndrome in Europe to earn a major university degree, and he is endearing in the lead role, never overly sentimental, and the script avoids treacly moments, as does Guille Milkyway’s soundtrack. ME, TOO will be screening as part of the ReelAbilities NY Disabilities Film Festival on February 5 at the JCC in Manhattan and on February 6 at the Cinema Arts Centre in Huntington.

LUNAR NEW YEAR AT MOCA: YEAR OF THE RABBIT

Artist, musician, storyteller, and novelist Mingmei Yip will lead a calligraphy demonstration as part of Lunar New Year Festival Family Day at MOCA on January 30

Museum of Chinese in America
215 Centre St. between Howard & Grand Sts.
Thursday – Monday, $7 (free Thursdays 11:00 am – 9:00 pm)
Reservations required for most Lunar New Year events
212-619-4785
www.mocanyc.org

The celebration of the Year of the Rabbit, 4709, is under way, with special programs and events scheduled for the next few weeks throughout Chinatown, honoring affectionate, pleasant, cautious, sentimental, obliging, superficial people born in 1927, 1939, 1951, 1963, 1975, 1987, 1999, and 2011. At the Museum of Chinese in America, the talk “Decoding the Chinese Almanac’s Predictions for 2011” is scheduled for today at 2:30 ($15), with New Year Walking Tours taking place January 30 and February 5 ($18, 1:00). Tomorrow is Lunar New Year Festival Family Day, with storyteller Kam Mak, a noodle-making workshop, a gallery talk of the exhibition “Chinese Puzzles: Games for the Hands and Minds,” arts and crafts, a lion dance, a calligraphy demonstration with Mingmei Yip, and more ($10, 10:00 am – 5:00 pm). And on February 4, the Chinese Cinema Club will present Liu Jiayin’s 2009 sequel OXHIDE II, followed by a discussion on dumplings and the New Year with chef and writer Kian Lam Kho ($10, 7:00).