August will see a roster of Arangetrams* presented by Artistic Director Malathi Iyengar from the Rangoli Dance Company (*the debut performance of a Classical Dancer, the time when a disciple proves talents and knowledge taken from their Guru) article by Prem Kishore of IndiaPost – California
These live performances of Bharata Natyam with mesmerizing , intricate rhythms, unique narrative, and powerful movements, always engage, enrich and showcase the best traditions of Indian classical dance Iyengar is a cherished and innovative choreographer, dancer/artist of our times and it is with an exhilarating anticipation that one looks forward to the debut of her amazingly versatile, gifted young dancers.
Sunday evening we lost 90 year old Merce Cunningham, another pioneer of the modern dance era. Cunningham was a founding father of the New York City school of modernist dance training along with Paul Taylor and Jerome Robbins. As a rebellion to traditional styles of Graham and Balanchine, he presented dance as theater, using pedestrian movement in city life, juxtaposed by sound accompaniment. His achievement was to have dance and music composed independently of each other showing dance as independent thought or “chance”. This has surged a new process in the modern dance genre by the succeeding talents of Mark Morris and Twyla Tharp to name a few. In part, we have Cunningham to thank for the abundant display of “dance as thought,” the “but” “what if?” theory; “de/re-contextualized” choreographic phenomenon coveted today on many University campuses.
I am in utter disbelief at the death of Michael Jackson. In retrospect, he has unselfishly contributed to music, dance and pop culture like no other artist in the world. Having started his career at age 10 to making a comeback this July at age 50 is a commendable effort to his legacy, in a genre of artists who are sampling his music and performance. It is unfortunate that a man of such talents needed to live in exiled seclusion for years in defending his eccentric behaviors and troubled past.
Today I spent an entire day on YouTube. Well it all started when I received and email with a YouTube attachment. This video of the Charles Moore Dance Theater, of which I am currently in rehearsals, had a full length performance of Katherine Dunham’s “Shango” as performed by the company. I needed to answer many questions pertaining to this post of Ms. Dunham’s signature piece, which CMDT performed just last year. When the remaining postings of this one member appeared, I was forced to delve deeper into my ethnological dance studies. In that one grouping, I found videos supporting my syllabus “Dance and the Civil Rights Era” followed by my topic “Black Broadway revisited”, and lastly the difficult and unfounded subject “Leaders of the New School”, performing artists of the 21st century.
I always thought of YouTube as a social network in fame and celebrity for the not so famous. A method by which one may gain notoriety, on a global scale, of insipid self-aggrandizement. However, many people are taking rather seriously, a stance of self expression and infotainment, by sharing catalogues of personal collections through video, in support of very viable causes and interest. I am so “In to YouTube”, that I created an account for my 82 year old mother who enjoys multi-media nostalgia, in this computer age. With the correct keyword, and the click of the mouse, I have travelled worlds and time zones for information, which would have taken days to find in various public libraries and research facilities. I have organized collection(s) of thought, past and present, which are not only educational and informative, but are visually stunning as well.
If you would like to join me on my pedagogical journey through the “Black Dance Vernacular” , please respond to this blog, or send me an email and I will submit my playlists.
Well I guess if it’s good enough for “So You Think You Can Dance” it’s good enough for America? The not too recent depiction of Bollywood dance by contestants Joshua and Katee have been a glorious display of art through culture. Nakul Dev Mahajan has delicately prescribed an intricate choreography in a short time span that was visually stunning and quite challenging for contemporary American audiences and dancers alike. This movie genre, in more recent years condensed to television video; include dance infusions of South India’s own Bharata Natyam, West-African, Folkloric Russian and Hip-Hop styles.
The Fox television program “SO YOU THINK YOU CAN DANCE?” may need to change it’s name to “SO YOU THINK YOU CAN SHOULD DANCE?” as it welcomes choreography by Complexions’ own Dwight Rhoden and Desmond Richardson this Wednesday July 16th 8pm.
Well another school semester has come to an end, Senator Obama delivered the commencement speech to the graduating seniors, and summer has encroached upon us with a vengeance.
To all my graduating students: Live/Love/Enjoy/Life!!! Now is your time to fully come into being. Take risks now, afterall you have acquired WES credentials to fall back on. Travel, see the lives of others in the world. Practice humility (a life lesson that goes a long way). Much continued success to you all!
I will establish workshops and master classes between my travels, check the website calendar for updates ( I will do my best to post regularly).
hello everyone – the photo gallery has been renewed please submit pics and memories that we share and we’ll be happy to post. HAPPY B-DAY REGIS!!!! YTB. New development in my pedagogical research:
“Black Fosse” Performers of color and their contribution to the evolution of the “Fosse” style. Afro-Brazilian Dance 1 has been approved and triple listed for Spring ’08 with Dance, AF. American Studies and American Studies (the only course in the dept. @ WES)
