Tag Archives: Bruce Wood Dance Gallery

Falling Up: Preview of Bruce Wood Dance’s RISE performance

 

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Bruce Wood Dance in Joy Aktins Bollinger’s Hillside. Photo: Sharen Bradford/The Dancing Image

Bruce Wood Dance prepares for the physically taxing elements in Joy Atkins Bollinger’s Hillside, part of the company’s RISE performance this weekend.

 

Dallas — Against what will be a backlit stage, Kimi Nikaidoh slowly walks across the space in Bruce Wood Dance’s (BWD) main studio with a pensive expression on her face. Her left arm habitually reaches out to brush across the other dancers’ feet, which are swaying haphazardly as the dancers lay prone on a sloping 32-foot-long 5-foot-wide replica of a hillside made of dense Styrofoam and reinforced with half inch plywood. As Nikaidoh moves further downstage, the dancers start a series of quick lower body exercises, including flex and pointed toes, turned out feet and crisscrossing legs, which they perform in tandem as well as off time. Even without the lighting this image is striking thanks to the dancers’ simplistic movements, which stir up a wealth of emotion, and are also recurring themes in choreographer Joy Atkins Bollinger’s new work, Hillside, for the BWD’s RISE performance this weekend.

Bollinger began her dance training at the age of 7 at the Fort Worth School of Ballet with Victoria Fedine and Paul Mejia. During her time there she performed in productions of The Nutcracker and Cinderella with the Fort Worth Ballet Company. She eventually was invited to the Cedar Island Summer Intensive for two consecutive years where she lived and studied with Suzanne Farrell, who was one of George Balanchine’s muses at the New York City Ballet during the 1960s and ’70s. After graduating from Texas Christian University with a B.F.A. in ballet, Bollinger joined the Bruce Wood Dance Company (BWDC) in 2002. She worked with BWDC for four years while also dancing as a guest artist for Irving Ballet, Metropolitan Classical Ballet and Madison Ballet. Today, Bollinger is an artistic associate with Dallas-based Bruce Wood Dance where she is restaging Wood’s works and starting to make some of her own, including Carved In Stone, which was her first full-length dance for BWD and was met with critical acclaim at the company’s SIX performance last year.

Bollinger says the inspiration for Hillside came from an image she kept seeing in her head of just a slope.

“I just couldn’t shake this image of an abstract hillside that looks like someone just took some marley and squished it from the sides so it just has a ripple in it,” Bollinger says. “And I could also see the dancers starting out with their legs in the air and a figure just walking by and brushing their hand against that.”

To bring this idea to life, Bollinger had her brother who happens to be an architectural engineer help her create an architectural file, which is what the Styrofoam factory referred to when cutting the material. From there the prop had to be assembled and then reinforced so the dancers would be able to run across and perform on it. “So the meat of it is actually a dense foam that weighs between 200 and 300 pounds that we then covered with a thin carpet and marley flooring.”

In addition to the even, smooth look on top, Bollinger also needed the prop to be light enough to slide around the stage, which the dancers do a couple of times throughout the piece. Bollinger explains that the prop begins up stage and will move to mid stage during Nikaidoh’s personal struggle before being shifted to a diagonal, which will represent Nikaidoh’s new perspective on life. She adds, “The first transition will have these flashes of light and as the music changes the downstage will be lit, but the upstage will be dark so all you can see is the front edge of the prop creeping into the light.”

If you had to opportunity to see Carved In Stone, you will be able to see some similarities between that piece and Hillside, most obviously Bollinger’s penchant for large casts and captivating stage design and lighting techniques. She has also taken a page out of Wood’s book with the use of understated movement and silky smooth partnering sections. Like Wood, Bollinger also relies heavily on instinct so that her movement always has a continuous flow to it, but keeps in context with the piece’s narrative and imagery.

This is most clearly seen in the large group section near the end when all 14 dancers run into the space, including three dancers on the hillside, to perform a breathtaking series of body arcs and under-curves, which Bollinger layers with balletic legs and textured arm movements to fast-paced instrumentals. With the use of creative pathways and musical timing, Bollinger avoids the clutter and chaos that generally comes with such large dance works; instead making smart choices that add more dimension and emotional depth to the already deeply empowering work.

And as for why Bollinger decided to work such a large cast she says, “There is just something so satisfying and fulfilling about seeing a lot of bodies on stage. The piece reads stronger with more bodies and the music is so big and powerful, and there are so many layers at the end that I just wanted there to be a moment where everyone can see the big picture.”

Hillside makes it premiere at Bruce Wood Dance’s RISE performance at Moody Performance Hall Nov. 17-18. The program also includes Wood’s Lay Your Burdens Down and The Only Way Through Is Through. This program will be dedicated to two choreographer/instructor Kim Abel; and to former BWDC dancer Doug Hopkings, both of whom passed a way in recent months.

>This preview was originally posted on TheaterJones.com

 

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Homeward Bound: Bruce Wood Dance Project Journey’s Performance Preview

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Bruce Wood Dance Project humanizes the refugee crisis in Albert Drake’s Chasing Home, part of the company’s Journey’s performance this weekend.

Dallas — Emily Drake tenderly cups David Escoto’s face in the palm of her hand before he scoops her up and spins her around in childlike glee while the rest of the dancers quietly celebrate in the background. As the duet progresses, the two twist, duck and arc around one another while always maintaining their connection through physical touches and eye contact. This marriage ceremony is just one of many poignant moments viewers get to witness in Albert Drake’s new work Chasing Home, which depicts the day-to-day activities of those currently living in refugee camps as they seek to reclaim their identities. The work features an original score by Joseph Thalken, which will performed live by the Dallas Chamber Symphony at Bruce Wood Dance Project’s (BWDP) Journeys performance June 16-17 at Moody Performance Hall, formerly Dallas City Performance Hall. The program also includes Bruce Wood’s Schmetterling (2004) and Zero Hour (1999).

Out of the full 20-minute piece, it’s the duet with Emily Drake and Escoto where we really get to see who Albert Drake, Emily’s husband, is becoming as a choreographer. Yes, Wood’s aesthetic is visible in the dancers’ swooping arm and leg movements and nuanced gesturing, but there is a vulnerability and sensuality in the couple’s partnering that is uniquely Albert Drake. “It is not sexual at all,” Albert Drake says. “It’s sensual in that it’s more about seeing, touching, hearing and feeling. It was about finding those intimate connections between the dancers.” Wood’s influences can also be found in the couple’s silky smooth transitions and momentum-driven partnering and floor work, whereas the dynamic bodying shaping and contrary movement phrases showcased in the dancer’s individual moments cater more to Albert Drake’s artistic sensibilities.

When asked about his evolving movement tastes Albert Drake says, “There are definitely a lot of influences from Bruce in my work just because I adore and respect him. I have also found a lot of connection to his work from my concert training at Southern Methodist University’s Meadows School of the Arts.” Before attending SMU in the fall of 2008 Albert Drake says his knowledge of concert dance was limited. It wasn’t until he took Graham technique with Professor Myra Woodruff that he fell in love with the art form. It was also during this time period that he met Bruce Wood who came to SMU looking for dancers to perform in the first concert of BWDP.

(Woodruff’s teaching methods were recently praised on Dance Teacher magazine’s website by former student Corinna Lee Nicholson. Check it out here.)

“There were a lot of connections between my Graham classes and Bruce’s work, so I never felt as if I was starting over with a new aesthetic,” says Albert Drake about his first year with the BWDP after graduating from SMU in 2012. “And these connections definitely and heavily translated in my first work Whispers. That piece kind of came out of nowhere and so, I definitely played from what I knew.” Since the premiere of Whispers last season, Albert Drake says he has been trying to find more of his own self in the movement. “Dynamic range has always been important to me. Also, suspension, release, contraction, expansion, soft and aggressive. I like playing around with all these elements and I hope this comes across in my work.”

Circling back to the marriage ceremony mentioned earlier, Albert Drake says the idea came from one of the multiple documentaries he has watched pertaining to the refugee crisis. He was particularly touched with a story about a couple that had met, fell in love and gotten married while living in a refugee camp. “I was inspired by the fact that even with everything else that was going on people came together and found items like pieces of fabric and makeshift flowers to adorn the bride and groom in. It’s these moments of hope and of being able to move forward and progress while still living in this situation that is really what this piece comes down to for me.” A wedding isn’t the only communal activity featured in the piece. Albert Drake also brings soccer and the dabke, a Middle Eastern dance, into the fold with movement sequences dedicated to fast, syncopated foot work similar to an Irish jig and rhythmic soccer drills performed by the men.

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Albert Drake (Left) and composer Joseph Thalken (Right). Photo: Brian Guilliaux

After watching Albert Drake and Joseph Thalken converse at the end of rehearsal about the music for the final section it’s clear the two have an amicable working relationship and seem to be on same page in terms of the bigger picture. When I mentioned this to Albert Drake later he chuckled and admitted it has taken a lot of time and mind mapping for them to get to this point. “In our first meeting we wrote a lot of stuff down on paper in terms of content, tune and mood and then we just starting tying all these things together.” He adds, “Joseph and I broke everything into sections with working titles, so there really is no beginning, middle or end to the piece. Instead I created different chapters or vignettes with the hope audiences will focus more on the dancers’ connections than following a narrative.”

<<This preview was originally posted on TheaterJones.com.

 

Gayle Halperin: Nurturing Dance

Gayle Halperin’s latest endeavor opens new doors for the Dallas dance community. Literally.

BWDP rehearsing in the company's new space in the Dallas Design District. Photo: Sharon Bradford - The Dancing Image
BWDP rehearsing in its new space in the Dallas Design District. Photo: Sharon Bradford – The Dancing Image

Dallas – Bruce Wood Dance Project. TITAS. Dallas DanceFest. Dance Planet. These are just a few of the high profile dance organizations and events that Dallas arts patron Gayle Halperin has helped cultivate. Last year alone, Halperin steered the committee for the inaugural Dallas DanceFest while also continuing on with the Bruce Wood Dance Project’s (BWDP) fourth season after the loss of its founder a few weeks prior to the company’s June performance. Halperin’s drive and intuition when it comes to the needs of the local dance community led to her being featured in TheaterJones’ first Forward Thinker Series in December 2014. Halperin’s most recent contribution to the dance community not only gives BWDP a stable home, but also provides dance groups in the area with a more affordable option when looking for rehearsal and performance space.

“My dream has always been to have a rehearsal space that transforms into a minimal black box theater that can be used for small studio performances,” Halperin says. “I like a space that can only fit about 80 to 100 people and has minimal lighting and good sound, but without all the fancy trimmings.”

Halperin is turning this dream into a reality with the Bruce Wood Dance Gallery. Located at the corner of Howell St. and Levee St. in the Design District, the Bruce Wood Dance Gallery occupies approximately 6,000 square feet of the 12,000-square-foot white brick building. Right now BWDP is only using half of the space while the other half is being finished. The second space only became available for lease this past winter. Halperin says she hopes to have the company rehearsing in the second space, which is 400 feet bigger, by the end of the summer. BWDP’s current space features sprung flooring, high ceilings, a break area and plenty of natural light. “We ended up going with this location because it had high ceilings, no poles and didn’t need a lot of finishing up. We saw a lot of spaces, and it was quite difficult to find a space that only needed minimal repair. We were fortunate to find this corner property in the Design District.”

Photo: Robert Hart
Photo: Robert Hart

The process of finding a rehearsal space started more than a year ago, Halperin says, when Wood decided he wanted the company to start rehearsing during the day, Monday through Friday. “We always knew that if the company was going to go anywhere that it needed its own space. So, last year when Bruce announced that the company wasn’t going to rehearse in the evenings anymore I made that commitment to him to find a place for the company to rehearse.” She adds, “Bruce always said that’s how he worked when he had the Bruce Wood Dance Company. You have to work every day in order for the company to develop a cohesive style and to be challenged to become stronger.”

The company didn’t move into the Bruce Wood Dance Gallery till July 2014; one month after Wood’s passing. And even through Halperin’s name is on the lease she says the whole project has been a huge team effort. She credits BWDP’s Administrative Assistant Rebecca Butler for finding the space and board treasurer Danny Curry for masterminding the construction of the sprung flooring. “This was leap of faith, but Bruce made a huge impact on me so it’s all worth it.”

This article originally appeared in the Aug.-Oct. 2015 issue of DANCE! North Texas which is published by The Dance Council of North Texas.

Also check out the feature I did on BWDP Company Member Albert Drake who made his choreographic debut with Whispers in the company’s 5 Years performance in June.