this week in dance

VIRTUAL BLOODLINES FESTIVAL

Who: Stephen Petronio Company
What: Virtual Bloodlines Festival
Where: Stephen Petronio Company online
When: October 23 – November 14, free with advance RSVP (donations accepted)
Why: New York-based choreographer Stephen Petronio isn’t about to let a little old pandemic lockdown stop him from his mission in life. He and his company have been busy since the spring, presenting the Zoom show #gimmeshelter as part of its #LoveSpreadsFaster gala, followed by Are You Lonesome Tonight, a duet between Nicholas Sciscione and Lloyd Knight filmed at the Petronio Residency Center in Round Top and at Hudson Hall for the Hudson Valley Dance Festival. Petronio is now revisiting his Bloodlines project, in which he restages classic works by dance masters, with the Virtual Bloodlines Festival, running online October 23 through November 14. Each week will feature recorded presentations made since Bloodlines began in 2015, with additional interviews and talks with special guests. “Having these masterpieces as part of the repertory of Stephen Petronio Company is an honor and responsibility that I hold dear,” Petronio said in a statement. “My hope is that the Virtual Bloodlines Festival brings new audiences to a group of choreographers that run through my DNA. Their artistry continues to speak boldly to the present moment.”

The first week, beginning October 23 at 7:00, includes Yvonne Rainer’s Diagonal (1963), Trio A with Flags (1966/1970), and Chair Pillow (1969) and Steve Paxton’s Jag Vill Gärna Telefonera (1964/1982), with a new conversation between Deborah Jowitt, Rainer, and Petronio. The second program kicks off October 30 at 7:00 with Trisha Brown’s Glacial Decoy (1979) and Merce Cunningham’s RainForest, with a talk between Wendy Perron, Davalois Fearon, and Petronio. And the third week gets going November 6 at 7:00 with Rudy Perez’s Coverage Revisited (1970) and Anna Halprin’s Courtesan and the Crone (1999), a solo performed by Petronio, followed by a chat betwen Perron and Petronio. Tickets are free (donations accepted), and each program will be available for one week. There will also be Zoom master classes taught by Tess Montoya and Petronio on November 7 and 14 at noon.

LOVE STORY, THE SCHOOL OF HARD KNOCKS

Yoshiko Chuma’s Love Story, The School of Hard Knocks is a twenty-four-hour durational online experience

La MaMa Experimental Theatre Club
Saturday, October 17, 11:00 am – Sunday, October 18, 11:00 am, $5 – $400 (pay what you can)
lamama.org/love-story

Osaka-born multidisciplinary artist Yoshiko Chuma celebrates the fortieth anniversary of her collective, “The School of Hard Knocks” (SOHK), with the live, twenty-four-hour virtual work Love Story, streaming through La MaMa beginning at eleven o’clock in the morning on October 17. SOHK debuted at the 1980 Venice Biennale and became an official company four years later; the troupe has traveled the world with such shows as AGITPROPS: The Recycling Project, 7 x 7 x 7, and Pi=3.14 . . . Ramallah-Fukushima-Bogota Endless Peripheral Border, many of which were developed and premiered at La MaMa as well as PS122 and Dixon Place here in New York. A durational performance installation that incorporates dance, music, film, visual art, and narrative storytelling, Love Story deals with such timely topics as immigration, national security, and war; Chuma, who has been based in the United States since 1977, will also be looking at her personal and professional past, present, and future, focusing on the idea of borders, which have taken on a whole new level of importance under the Trump administration while also impacting how art is now created online as well as how Chuma has shunned the limitations of genre in her career.

Love Story — which consists of live and prerecorded segments, with part of the show taking place in La MaMa’s Ellen Stewart Theatre — was conceived, choreographed, and directed by Chuma, working with artist liaison Ai Csuka, creative producer and musician Ginger Dolden, actor Ryan Leach, Middle East specialist Ruyji Yamaguchi, and dramaturgs and designers Jake Margolin and Nick Vaughan. Among the cast of more than fifty international performers are Deniz Atli from Turkey, Agnè Auželytė from Amsterdam, Los Babuinos from Venezuela, Sahar Damoni from Palestine, Tanin Torabi from Iran, and Martita Abril, Mizuho Kappa, Heather Litteer, Devin Brahja Waldman, and zaybra from New York, with live, original music by Robert Black on double bass, Jason Kao Hwang on violin, Christopher McIntyre on trombone, and Dane Terry on piano.

“This week I was supposed to be in New York for performances celebrating Yoshiko Chuma and the School of Hard Knocks’ forty-year anniversary,” Auželytė recently wrote on Facebook. “While my physical body will stay put in Amsterdam for a long while to come, I will still be there, online and energetically, sharing the screen with a group of artists, some whom I had the opportunity to get to know for a long time already and some whom I only ever met on Zoom! (How weird is that? Is it still weird?) I am also touched to see some of them physically at the theater at La MaMa, which has been closed to the public for seven months now! We’ve had a lot of late-night conversations during this process and it continues to make me think about how to reimagine theater in the era of self-isolation and Zoom life. What does local-global mean anymore? Where are our bodies? What are our bodies?”

The multidisciplinary Love Story streams live from Saturday to Sunday morning (photo courtesy La MaMa)

The list of collaborators on Love Story is long and impressive. In addition to those listed above, there will be choreography by Yanira Castro, Ursula Eagly, Allyson Green, Jodi Melnick, Sarah Michelson, Anthony Phillips, Peter Pleyer, Kathryn Ray, Steve Recker, and Vicky Shick; poetry by Kyle Dacuyan, Bob Holman, and Anne Waldman; music by Mark Bennett, Tan Dun, Nona Hendryx, Christian Marclay, Lenny Pickett, and Marc Ribot; film and video by Chani Bockwinkel, Jacob Burckhardt, Rudy Burckhardt, Andrew Kim, Jonas Mekas, and Charlie Steiner; photography by Robert Flynt and Dona Ann McAdams; set designs by Tim Clifford, Alex Katz, Elizabeth Kresch, and Elizabeth Murray; and appearances by Barbara Bryan, Rachel Cooper, Mark Russell, Yoko Shioya, Bonnie Sue Stein, Laurie Uprichard, David White, Donald Fleming, Dan Froot, Kaja Gam, Brian Moran, Nicky Paraiso, Harry Whittaker Sheppard, Gayle Tufts, Sasha Waltz, David Zambrano, Nelson Zayao, Emily Bartsch, Peter Lanctot, Kouiki Mojadidi, Emily Marie Pope, Isaac Rosenthal, and Aldina Michelle Topcagic. Of course, it takes a lot of work to fill up 1,440 continuous minutes of performance, and Chuma has assembled quite a team.

You can get a sneak peek and behind-the-scenes look at the collaborative project on October 15 at 8:00 when La MaMa will present a livestream preview that includes archival footage, sketches, and rehearsal clips. In preparation for Love Story, La MaMa has also been hosting such live Saturday morning Zoom events as “Secret Journey: Stop Calling Them Dangerous” and “SML: Zooma — Dead End” in addition to evening shows that give a taste of what we’re all in for from Bessie Award winner Chuma and her unpredictable troupe, a virtual hybrid that should offer, at the very least, a twenty-four-hour respite from this school of hard knocks we are living through in 2020.

PEAK HD: FALLING & LOVING

PEAK HD kicks off with SITI Company and STREB Extreme Action’s Falling & Loving (photo courtesy PEAK Performances)

Who: SITI Company, STREB Extreme Action
What: Online premiere of dance-theater collaboration
Where: Peak HD
When: Sunday, October 11, free, 8:00
Why: In September 2019, SITI Company and STREB Extreme Action joined forces for Falling & Loving, an adaptation of love sonnets and plays by Charles L. Mee, who has written such works for SITI as bobrauschenbergamerica, Hotel Cassiopeia, Under Construction, and American Document. The piece, codirected by SITI’s Anne Bogart and STREB’s Elizabeth Streb at PEAK Performances’ Alexander Kasser Theater at Montclair State University in New Jersey, featured six actors from SITI and six dancers from STREB, along with a Guck Machine providing color, humor, and danger. (SITI recently announced a legacy plan that will follow its thirtieth and final season, 2020-22.) The collaboration was Mee’s idea, bringing together Bogart’s Viewpoints and Suzuki Method and Streb’s PopAction technique. Falling & Loving will have its online premiere October 11 at 8:00, kicking off PEAK HD’s inaugural digital season, in conjunction with WNET’s All Arts.

“The obstacles we’re facing today are catastrophic and coated in painful loss, but this is not new for the performing arts,” PEAK executive director Jedediah Wheeler said in a statement. “The performing arts in America are filled with the most tough-minded, forward-thinking, get-it-done people I have ever experienced in the world. So PEAK HD comes as a celebration of the deep, purposeful, important creativity that exists not just in the U.S. but worldwide, and it’s an intense creative process with multiple experienced minds focused on it. The day we can open the Kasser’s doors to 465 people (and simultaneously capture these performances for broadcast) — that will be another celebration. But the doors that are open are the doors of our ideas. Everybody is welcome. All seats are available. There is no social distancing to the imagination.” The lineup continues November 8 with the Martha Graham Dance Company and the International Contemporary Ensemble’s Appalachian Spring and The Auditions from November 2019, December 13 with Gandini Juggling and Alexander Whitley’s Spring from December 2019, January 10 with Grand Band (Kate Moore’s Sensitive Spot, Julia Wolfe’s my lips from speaking, Julius Eastman’s Gay Guerrilla, and Three Fragile Systems by Missy Mazzoli with Joshua Frankel’s Emergent System and Faye Driscoll) from February 2020, and February 14 with the Richard Alston Dance Company’s Detour, Shine On, and Brahms Hungarian also from February 2020.

EDGECUT: CAPTIVITY

Kate Ladenheim + the RAD Lab’s Babyface is part of Edgecut: Captivity live 3D experience online at NYLA on Saturday

Who: Carrie Sijia Wang, Emily Twines, Theater in Quarantine, Kate Ladenheim + the RAD Lab, Rourou Ye, Sadi Oortmood, Sylvain Souklaye, XUE
What: 3D live experience
Where: New York Live Arts
When: Saturday, October 10, livestream free, interactive experience $7-$20, noon – 5:00
Why: The cutting-edge series EdgeCut is teaming up with New York Live Arts for Captivity, five hours of short performance works, talkbacks, and networking taking place online from noon to 5:00 on October 10. Curated by Heidi Boisvert and Kat Mustatea, the EdgeCut program, which originally convened at the New Museum’s NEW INC incubator for art, tech, and design for in-person presentations, is now seeking to expand and redefine the virtual 3D experience during the pandemic lockdown, exploring the question “How do we create collective experience and transformative gatherings in this moment of ‘a crisis within a crisis’ that speak to transition, change, healing, humanity?” The works, chosen through an open call focusing on captivity, sanity, and humanity, include Kate Ladenheim + the RAD Lab’s Babyface, Rourou Ye’s The Absent Umbra, Theater in Quarantine’s The Neighbor, Carrie Sijia Wang’s The System 2.0, Sadi Oortmood’s Invisible Creativity, Emily Twines’s lookingGlass, Sylvain Souklaye’s Black Breathing, and Xue’s Endless Return Rave. Virtual attendees can roam from room to room and engage with others, but be patient, as there’s a maximum of fifteen at any one time in the Nowhere platform. The full Captivity experience can be accessed with advance tickets of $7 to $20, but they are extremely limited, so act fast; it can also be watched for free via livestream but without the participatory elements.

HUDSON VALLEY DANCE FESTIVAL 2020

Who: Ayodele Casel, Billy Griffin, Ricky Ubeda, Stephen Petronio, Lloyd Knight, Nicholas Sciscione, Jamar Roberts, Caleb Teicher, Catherine Hurlin, Peter Walker, Daniel Applebaum, Christopher D’Ariano, Adam Weinert
What: Virtual Hudson Valley Dance Festival
Where: Dancers Responding to AIDS
When: Saturday, October 10, free (donations accepted), 7:00 (available for four days)
Why: The Hudson Valley Dance Festival can’t take place in its beautiful Catskill environs, so instead it is happening online, presenting an hour of special works on October 10 at 7:00. “We’ll miss gathering on the banks of the Hudson River and amid the gorgeous fall foliage, but we’re happy to continue the tradition of sharing breathtaking dance that gives back to and celebrates the Hudson Valley community,” Dancers Responding to AIDS founding director Denise Roberts Hurlin said in a statement. “In these unprecedented times, we’re thrilled to come together virtually and provide immediate help to those affected by Covid-19, HIV/AIDS, and other life crises in the area and across the country.” The program includes tap dancer Ayodele Casel’s Oscar Joy, filmed in his home studio; Billy Griffin’s Is That All There Is? with Ricky Ubeda; Stephen Petronio’s Are You Lonesome Tonight, filmed at the Petronio Residency Center, with Lloyd Knight and Nicholas Sciscione; Jamar Roberts’s WPA commission, Cooped, the most explosive dance made during the pandemic lockdown; Caleb Teicher’s Tee Time, an outdoor solo performed by Catherine Hurlin; Peter Walker’s Words in the Fire, with Daniel Applebaum and Christopher D’Ariano; and an excerpt from Adam Weinert’s Monument.

You can watch for free, but donations will go to Broadway Cares in support of the following Hudson Valley organizations: the Albany Damien Center, Alliance for Positive Health, Animalkind, Columbia-Greene Community Foundation, Hudson Valley SPCA, Matthew 25 Food Pantry, Community Hospice, Hudson Valley Community Services, Hudson Valley LGBTQ Community Center, Rock Steady Farm, Roe Jan Food Pantry, TOUCH (Together Our Unity Can Heal), and Troy Area United Ministries.

A GLIMPSE INTO THE WORLD OF NARCISSUS

Andrew Jordan’s rotoscoped animations are part of sneak preview of Christopher Williams work at New York Live Arts

Who: Christopher Williams Dance
What: Live performance and virtual presentation
Where: New York Live Arts lobby, 219 West Nineteenth St., and online
When: Tuesday, October 6, free in person, $5, $15, or $25 online, 7:00 and 7:30
Why: Choreographer Christopher Williams’s evening-length dance, Narcissus, was scheduled to make its world premiere at New York Live Arts, but that has been postponed indefinitely because of the pandemic lockdown. However, Williams will be offering a taste of the work both live in person and online with “A Glimpse into the World of Narcissus,” a pair of ten-minute activations taking place in NYLA’s glassed-in lobby on October 6 at 7:00 and 7:30. Set to Nikolai Tcherepnin’s 1911 score “Narcisse et Echo” for the Ballets Russes, the piece explores the classical myth through a contemporary queer perspective. The sneak peek features projected rotoscoped animations by longtime Williams collaborator Andrew Jordan, hand-painted drawings, and what Williams calls a “live, socially distanced tableau vivant” performed by Cemiyon Barber and Logan Pedon. If you want to experience the activation from the sidewalk outside NYLA, it is free and first-come, first-served, with masks and social distancing required; you can also watch it live online for $5, $15, or $25, depending on what you can afford.

HERE AND LEIMAY PRESENT CORRESPONDENCES BY XIMENA GARNICA & SHIGE MORIYA

HERE and LEIMAY bring Correspondences to Astor Place Plaza October 1-4 (photo by Shige Moriya)

Who: HERE and LEIMAY Ensemble
What: Sculptural performance art installation
Where: Astor Place Plaza
When: October 1-4, free
Why: In an April 2012 twi-ny talk, multidisciplinary HERE resident artists Ximena Garnica and Shige Moriya, the founders of LEIMAY Ensemble, explained, “It seems to us like we all see life and performances and things with our own frame. Through our work we challenge ourselves and our audiences to make these frames as malleable as possible so we can expand our understanding of the body and our experience and understanding of daily life. Consequently, we enlarge the realms of perception and creation and discover the possibilities for interaction therein.” Colombia-born Garnica and Japanese native Moriya reach for a new level with the sculptural performance art installation Correspondences. Part of HERE Arts Center’s #stillHERE: IRL initiative, which takes the innovative downtown institution outdoors during the Covid-19 crisis, presenting works in real life, Correspondences runs October 1-4, providing an intervention in one of Manhattan’s usually busiest locations, Astor Place Plaza, an area that bursts with life and energy in nonpandemic times. Correspondences features LEIMAY’s Masanori Asahara, Krystel Copper, and Garnica, along with Ricardo Bustamante and Brandon Perdomo — in vertical transparent chambers partly filled with sand. The performers, wearing only gas masks, move around the confined space, hampered by the several feet of sand, which occasionally erupts like an extreme weather event; the soundscape was designed by Jeremy D. Slater, with costume fabrication by Irena Romendik. The thirty-five-minute activations — scheduled for October 1 at 8:00, October 2 and 3 at noon, 2:00, 4:00, 6:00, and 8:00, and October 4 at noon, 2:00, and 4:00 — serve as a beautiful yet harsh reminder of what each of us, and the world as a whole, faces as we deal with isolation, masks, social distancing, the lockdown of theaters, climate change, and interacting with other human bodies.

In conjunction with the installation, HERE and LEIMAY, whose previous work includes Furnace, Trace of Purple Sadness, Becoming, borders, Frantic Beauty, and Floating Point Waves, are also hosting special related programs. For Correspondences — the Audience Files, people are encouraged to participate in online conversations, addressing such questions as “How do you cope with uncertainty?,” “What happens to your body when you encounter the unknown?,” and “Why are existential questions of being, interdependence, and coexistence vital in these times of readjustment of powers and values?” From October 1 to November 30, you can view a twenty-minute film of Correspondences from its summer 2019 iteration at Watermill Center. From October 6 to 10, you can register for “Dancing for the Environment” online LEIMAY encore classes, with one hundred percent of the proceeds benefiting Organización Nacional de los Pueblos Indígenas de la Amazonia Colombiana, Green Worker Cooperatives, El Puente, and the Loisaida Center. And on October 29, “Correspondences Talks” will bring together activists, scholars, designers, and scientists to discuss the idea of “decentering the human.”

Update: Even though Correspondences was created before the pandemic, it is a dramatic and timely look at what life has become for every one us. In Astor Place Plaza, there are three vertical booths with two transparent sides. A trio of performers, wearing skintight costumes that cover specific parts of their body and gas masks with purple filter cartridges, are led inside the booths, where, trapped, they move slowly in several feet of sand. Every few minutes, black-and-white blowers connected to the booths — resembling a mix between Star Wars stormtrooper uniforms and Darth Vader’s helmet — suddenly, without warning, pour air in, causing the sand to whip up like a mini-tornado and forcing the dancers to lose their balance and fall. As they get up, sand oozes from them as the blower threatens to knock them down again. But they keep on getting up, because that’s what we do when faced with a crisis, be it global warming, a pandemic, a struggling economy, political shenanigans, or the lockdown of indoor performance spaces. Be sure to wear your mask and respect the white chalk boxes on the ground that are there to maintain social distancing. For a slideshow of the 2:00 performance on October 3, go here.