this week in dance

FIRST SATURDAY: HISPANIC HERITAGE

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, October 3, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum’s October free First Saturday program pays tribute to National Hispanic Heritage Month — which actually runs September 15 to October 15 — on October 3, kicking things off with a performance by Garifuna traditionalist Aurelio Martínez, who is not only a singer-songwriter but was the first black member of Honduras’s National Congress. Known simply as Aurelio, he will be highlighting songs from his latest record, 2014’s Lándini, which includes such tracks as “Sañanaru,” “Milaguru,” and “Durugubei Mani.” (You can sample the songs here; Aurelio will also be playing a free show at the David Rubenstein Atrium at Lincoln Center on October 15.) First Saturday also features live performances by Danza Fiesta: Baile y Teatro Puertorriqueno, DJ duo iBomba (DJ Beto and DJ Ushka), the Gregorio Uribe Big Band, the Humberto Ramírez Quintent, Nuyorican Poets Cafe, and Cave Canem poets Willie Perdomo, Elizabeth Acevedo, and Rio Cortez. In addition, Richard Aste and Edward J. Sullivan will lead a curator talk on the new exhibition “Impressionism and the Caribbean: Francisco Oller and His Transatlantic World,” art workshops will teach participants how to paint still lifes like Francisco Oller, you can settle in for a game of dominoes, Raquel Cepeda will read from and discuss her most recent book, Bird of Paradise: How I Became Latina, with her husband, Sacha Jenkins, and children are invited to sing and dance to Spanish and English songs with ¡Acopladitos! And the galleries are open late so you can check out such other exhibitions as “The Rise of Sneaker Culture,” “Kara Walker: ‘African Boy Attendant Curio (Bananas),’” “KAWS: ALONG THE WAY,” and “Zanele Muholi: Isibonelo/Evidence.”

NYC DUMPLING FESTIVAL

Dumpling eating contest is centerpiece of festival (photo by twi-ny/mdr)

Sara D. Roosevelt Park
East Houston St. between Forsythe & Chrystie Sts.
Saturday, September 26, 12 noon – 5:00 pm
Tasting tickets: $20 for four plates
www.dumplingfestival.com

Nearly every culture makes some kind of dumpling, involving meat and/or vegetables tucked inside a wrapper made of flour or rice. So the NYC Dumpling Festival, held on the outskirts of Chinatown in Sara D. Roosevelt Park, is not merely a celebration of the Chinese delicacy but of dough-encased delights from all over the world. In past years, you could find such “dumplings” as pierogi, ravioli, empanada, mandoo, bao, shumai, and momo. The twelfth annual festivities, emceed by Danielle Chang and Anita Marks and featuring a special appearance by competitive eating favorite Takeru Kobayashi, includes fare from Dumpling Go, Bibigo, Tang’s Natural, Mika, TBaar, and festival sponsor Chef One, which serves frozen bagged dumplings. Of course, the highlight is the dumpling eating contest; last year’s men’s champion, James “the Bear” McDonald, downed eighty-six dumplings in two minutes, while women’s champ Molly Schuyler beat the Bear with a record ninety. In addition, there will be live performances by beatboxer Sung Lee, Korean drummers KTMDI (Janggu), the Lion Dance Crew from Wan Chi Ming Hung Gar Institute, Bellyqueen, and Yut and the Hot Four. All proceeds from the festival benefit the Food Bank for New York City, so you won’t have to feel too guilty about stuffing your face, if you’re patient enough to navigate the long lines.

CROSSING THE LINE: CHAMBRE

Jack Ferver reimagines Jean Genet’s THE MAIDS in performance installation at the New Museum (photo by Julieta Cervantes)

New Museum Theater
235 Bowery at Prince St.
Installation: September 23 – October 4
Performances: September 24-25, October 1-2, 7:00, and September 26-27, October 3-4, 3:00, $15
www.fiaf.org
www.jackferver.org

No one tells a story quite like Jack Ferver. In such deeply personal psychodramas as Rumble Ghost, Night Light Bright Light, and Two Alike, the Wisconsin-born, New York-based performer shares intimate, cathartic memories brought to life through a loving pop-culture lens. Melding dance, spoken word, electronic sound scores, and visual art, Ferver explores suicide, abused queer youth, rape, and other serious topics while incorporating references to Tennessee Williams, Poltergeist, Fred Herko, Cleopatra, Madonna, and the 1985 cult film Return to Oz. In Chambre, which runs September 24 to October 4 at the New Museum as part of FIAF’s Crossing the Line festival, Ferver turns to Jean Genet’s The Maids, the 1947 play inspired by a pair of real-life sisters, Christine and Léa Papin, who committed a horrific crime in France in 1933. For the project, which includes eight live performances, Ferver is working with several of his longtime collaborators; the music is composed by Roarke Menzies, the costumes are designed by Reid Bartelme, the art installation (which is on view during museum hours throughout the show’s run) is by Marc Swanson, and Ferver will be joined onstage by Michelle Mola and Jacob Slominski.

Jack Ferver and Marc Swanson will present CHAMBRE as part of FIAFs annual Crossing the Line festival (photo by Julieta Cervantes)

Jack Ferver and longtime collaborators will present CHAMBRE as part of FIAF’s annual Crossing the Line festival (photo by Julieta Cervantes)

“While I’ve been mulling over the material for Chambre for years, we started our first residency at Baryshnikov [Arts Center] two years ago this month. It’s been exciting, to say the least, for me to see how much it has changed,” Ferver told twi-ny about the evolution of the show. “This iteration of Chambre at the New Museum is very different from our premiere at Bard [last year]. The context of the museum obviously has factored into it. Marc and I also originally envisioned it for the white cube. The space is more intimate than where we have performed it so far. Marc’s installation becomes a room in a room, and it is changing the performance, creating a more nuanced, vulnerable, and frightening experience for me. Michelle, Jacob, and I have already started rehearsing in the space. The script and choreography are changing as the psyche of the piece changes in the space of the New Museum.” Menzies added, “The evolution of the score for this work was interesting. I wrote maybe three separate scores before arriving at the final version. A lot of the first music cues I created really capitalized on the notion that this is a murder story. Originally, the main theme had this very suspenseful beat and dark, brooding piano melodies — very campy, and very much in the language of Friday the 13th or Halloween, which has one of the great horror scores in cinema. But I think I ended up scrapping all of those references in lieu of much more raw, uncomfortable, barely recognizable sounds that I created by manipulating and contorting recordings of my voice. As we got to the core of the work, it became clear that the real source of the horror in this piece isn’t the murder but the horror of being embodied, the horror of having to live in this cruel, terrible world. All we really have to escape that horror are the endless games we play.” Sounds like classic Jack Ferver to us, so we can’t wait to catch this highly anticipated New York City premiere.

BAM NEXT WAVE FESTIVAL: TAPE

Kenneth Kvarnström incorporates dance, Baroque music, spoken word, and duct tape in U.S. premiere at BAM (photo by Mats Baecker)

BAM Fisher, Fishman Space
321 Ashland Pl.
September 23-26, $25, 7:30
718-636-4100
www.bam.org

There’s almost nothing you can’t accomplish with a good roll of duct tape. Finnish-born, Swedish-based choreographer Kenneth Kvarnström makes unique use of the product, originally created as “duck tape” for the U.S. military during WWII, in the sixty-minute production TAPE, making its U.S. premiere at the BAM Fisher as part of the Next Wave Festival. Originally choreographed as part of a double bill featuring his own K. Kvarnström & Co/Kulturhuset City Theatre Stockholm and Skånes Dansteater in Sweden, TAPE involves dancers and duct tape as Jonas Nordberg traverses the stage, playing Baroque music by J. S. Bach, François Couperin, Francis Poulenc, and others on lute, theorbo, and guitar. The performers, who also take turns at a microphone, addressing such topics as music, dance, and baking, wear black and white costumes by Swedish fashion designer Astrid Olsson; the set and lighting design is by Jens Sethzman. In addition to the evening performances on September 23-26, there will be a working dress rehearsal on Wednesday at 2:00, open to Level 3 BAM members.

WAYNE McGREGOR, OLAFUR ELIASSON, AND JAMIE xx: TREE OF CODES

Wayne McGregor’s movement, Jamie xx’s music, and Olafur Eliasson’s visual concept come together to reimagine Jonathan Safran Foer’s TREE OF CODES, which reimagines Bruno Schulz’s STREET OF CROCODILES (photo by Stephanie Berger)

Park Ave. Armory
643 Park Ave. between 66th & 67th Sts.
Through September 21, $30-$90
212-933-5812
armoryonpark.org

Choreographer Wayne McGregor, composer Jamie xx, and artist Olafur Eliasson have created quite an audiovisual spectacle with Tree of Codes, their sparkling adaptation of Jonathan Safran Foer’s 2010 book of the same name, which used die cuts to repurpose Bruno Schulz’s Street of Crocodiles. As ticket holders enter the vast Wade Thompson Drill Hall, they encounter large screens to the north and south on which their elongated silhouettes are projected in different colors, reminiscent of Nam June Paik’s “Three Camera Participation / Participation TV,” welcoming them to the show while letting them know they are part of it. The performance itself takes place in the center of the vast Wade Thompson Drill Hall, the audience sitting in rising rows on the east side. Over the course of seventy-five dazzling minutes, various mirrored, translucent, and transparent walls descend from above, altering the perception of the highly athletic dancers, who move about virtually nonstop in an impressive array of solos, duets, and trios, set to a multilayered score that ranges from choral singing to soul, from pulsating dance beats to indie pop, sometimes all at the same time. Just as Safran Foer cut into Schulz’s story, Eliasson’s props cut into themselves, altering space and time, with refracted sections, orbiting circles, and spotlights that wander over the audience, and Jamie xx’s diverse score does the same to itself, coming up with new sounds as the music forms a kind of aural palimpsest. The dancers, meanwhile — consisting of Jérémie Bélingard, Julien Meyzindi, Sébastien Bertaud, Lydie Vareilhes, Lucie Fenwick, and the extraordinary Marie-Agnès Gillot from the Paris Opera Ballet and Louis McMiller, Daniela Neugebauer, Anna Nowak, James Pett, Fukiko Takase, and Jessica Wright from Company Wayne McGregor — are reflected multiple times in the mirrors, or fade away in ghostly images. At times, dancers in front of a see-through partition interact with dancers on the other side as if they are physically together; at other times, they appear to be dancing with multiple versions of themselves. The experience changes depending on where you sit, as the reflections and colors shift based on your angle of vision — and you might even get to see yourself in the background mirror as the spotlight hits you. It never gets very deep, but you can’t stop immersing yourself in its splendor. The performance actually begins with some cool but gimmicky Pilobolus-like moments, but don’t let that worry you. It quickly evolves into a beautifully rendered treat.

OKINAWAN VIBES: TRADITIONAL DANCE FROM OKINAW, WITH LIVE MUSIC

Japan Society
333 East 47th St. at First Ave.
Friday, September 18, and Saturday, September 19, $40, 7:30
212-715-1258
www.japansociety.org

As part of its 2015-16 performing arts season, Japan Society is celebrating the history of culture of Okinawa, located in the Ryukyu island chain south of mainland Japan, with the three-month series “Okinawan Vibes.” The festival begins September 18-19 with “Traditional Dance from Okinawa, with Live Music,” copresented with Yokohama Noh Theater. The event features dancers Satoru Arakaki, Sayuri Chibana, Izumi Higa, Kota Kawamitsu, Sonoyo Noha, Yoshikazu Sanabe, and Ayano Yamashiro and musicians Shingo Nakamine, Kazuki Tamashiro, Hiroya Yokome, Hokuto Ikema, Hideo Miyagi, Natsuko Morita, and Satoshi Higa from Okinawa Prefectural University of Arts performing a quartet of court and folk dances from during and immediately after the Ryukyu Kingdom (fifteenth to nineteenth centuries), including the women’s dance onna odori, the masked classical dance shundo, and folk dances known as zo odori; the dancers will be wearing such extravagantly colored costumes as the bingata, the hanagasa, and kasuri kimonos, while the musicians will be playing the taiko, the koto, the sanshin, the kokyu, and the fue. Each evening will be preceded by a lecture led by Dr. James Rhys Edwards and will be followed by a meet-the-artists reception. In addition, Japan Society is hosting an Okinawan dance and music workshop on September 19 ($45, 4:00), in which participants will learn about the karaya dance and sanshin and see an onnagata demonstration. “Okinawan Vibes” continues with Go Takamine’s rarely shown Paradise View on October 2, “Obake Family Day: Experience Japan’s Ghosts & Goblins” on November 1, “Explore Okinawa: Art, Culture, and Cuisine from the Ryukyu Islands” on November 3, the lecture “Okinawa, the Birthplace of Karate” on November 7, and the workshop “Creating Bingata, Okinawa’s Vibrant Textile” on November 8.

AUTUMN MOON FESTIVAL AND MORE

A CELEBRATION OF ASIAN CULTURE
Snug Harbor Cultural Center & Botanical Garden
1000 Richmond Terrace, Staten Island
Saturday, September 19, $8-$10, 12 noon – 4:00 pm
718-425-3504
snug-harbor.org

On September 19, Staten Island’s beautiful Snug Harbor Cultural Center & Botanical Garden will be hosting its sixteenth annual Autumn Moon Festival, an afternoon of special programs celebrating the Asian harvest. Taking place in the Chinese Scholar’s Garden, the festival will include an arts and crafts family workshop, a performance of Rabbit Days and Dumplings by Elena Moon Park and Friends, traditional music and dance, Asian-inspired food, martial arts and Tai Chi demonstrations, calligraphy lessons, and more. In addition, on Saturday and Sunday, Snug Harbor is holding a party for the grand opening of the Staten Island Museum, with games, live music, crafts, science, food, and more; admission for that is free. And finally, on Saturday at 2:00 and 8:00 and Sunday at 2:00, the Harbor Lights Theater Company will be presenting Rent in the Music Hall ($35-$45); the production continues through October 4.