Tag Archives: Gayle Halperin

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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Dallas DanceFest Announces 2017 Performing Companies

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Indique Dance Company will be performing at DDF 2017. Photo: Sharen Bradford/The Dancing Imaging

Dallas DanceFest has announced its 2017 line up which shows a lot of hometown pride.

Wow! It is hard to believe that this year marks the 4th installment of Dallas DanceFest (DDF) which was created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas. It looks like the festival’s mission of presenting high caliber and well-rounded dance performances will continue this year with a program that features all the major local players as well as the largest showing of pre-professional companies to date and a handful of relatively unknown dance companies from around and outside the Metroplex.

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Dallas Black Dance Theatre. Photo: Amitava Sarkar

Let’s start with the bigwigs in Dallas dance. For the fourth straight year Bruce Wood Dance Project, Texas Ballet Theater and Dallas Black Dance Theatre will be featured at DDF as well as their smaller counterparts DBDT: Encore! and the  Texas Ballet Theater School.

We will also see pieces from some repeat dance companies, including Dark Circle Dance Company, Contemporary Ballet Dallas,  Indique Dance Company, Southern Methodist University’s Meadows Dance Ensemble and Houston-based NobleMotion Dance.

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Danielle Georgiou Dance Group in War Flower. Photo: Steven Visneau

DFF 2017 will also feature a number of first timers, including Danielle Georgiou Dance Group, Center for Ballet Arts, Impulse Dance Project, Uno Mas and Grandans. Southern Methodist University Meadows dance student’s Kat Barragan and Arden Leone will also be showcasing work for the first time at this year’s festival.

I am also pleased to see so many familiar pre-professional ballet companies on this year’s roaster, including Ballet Ensemble of Texas (Coppell, TX), Ballet Frontier of Texas (Fort Worth, TX), Chamberlain Performing Arts (Plano, TX), Dallas Ballet Company (Dallas, TX) Royale Ballet Dance Academy (Dallas, TX) and LakeCities Ballet Theatre (Lewisville, TX). I have seen these companies perform a variety of dance styles from classical and neo-classical to more contemporary and jazz movements and I am eager to see how these aspiring professionals handle the pressure of sharing the stage with the more seasoned artists on this year’s program.

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LakeCities Ballet Theatre performs in Music in Motion. Photo: Nancy Loch Photography

We have also seen a surge in the number of dance festivals occurring around Texas over the last couple of years so,  it didn’t surprise me to see the Rhythm and Fusion Festival and Wanderlust Dance Project in this year’s line up. If you’re interested in reading more about the rise of dance festivals in Texas then you should read Nichelle Suzanne’s 2015 article for Arts+Culture magazine entitled Talent, Training, Festival & More: Fueling Contemporary Dance in Texas.

The 2017 Dallas DanceFest will take place Sept. 2-3 at the Moody Performance Hall, formerly Dallas City Performance Hall. More information about the festival can be found on the Dance Council of North Texas website.

I hope you see y’all there!

 

 

 

 

Preview: Bruce Wood Dance Project SIX performance

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Kimi Nikaidoh andShane Pennington. Photo: Brian Guilliaux

 

Bruce Wood Dance Project demonstrates the healing power of dance in Artistic Director Kimi Nikaidoh’s new work Bloom, part of the company’s SIX performance this weekend.

Dallas – Bruce Wood was known for making dances that touched viewers in very real ways. He created dances about human nature, the good the bad and the ugly. So, it comes as no surprise that long-time Bruce Wood dancer Kimi Nikaidoh would draw from her own personal experiences to aid in the creation of her new work Bloom, part of the Bruce Wood Dance Project’s SIX performance Nov. 11-12 at Dallas City Performance Hall.

The work, which focuses on the healing and reclaiming of hope through recovery in a number of poignant solos, duets and trios, was inspired by the emotional rollercoaster Nikaidoh experienced during the lowest points in her life – in particular the passing of her brother and her broken engagement. “This piece is about broken people and the people who are willing to use their own emotional resources to help them heal,” Nikaidoh says. “For me, it wasn’t the people who told me everything would be ok that really helped, but those people who came in and just did life with me every single day. I chose the title Bloom because that word symbolizes what is possible after the healing is done.”

Nikaidoh explains that the work takes place in a room and the individuals coming in are there to help heal those already in the space from whatever tragic event has lead them there. With that said the piece not only challenges the dancers technically, but emotionally as well. Instead of the stoic expressions commonly associated with modern dance the eight dancers in the piece express a number of conflicting emotions, including anger, frustration, sadness, acceptance and hope, which when combined with Nikaidoh’s lovely musical phrasing and unexpected movement choices, tells a story everyone can relate too.

To help bring her vision to fruition, Nikaidoh enlisted the talents of Dallas-based visual artist and AURORA co-founder Shane Pennington. Pennington was a recipient of the New Dallas Nine award from D Magazine and has exhibited internationally at the Paddington Contemporary Gallery in Sydney, Australia and at Sur la Montagne in Berlin.

Not wanting to give too much away, Nikaidoh says Pennington’s contributions have included a stage design and film that present the illusion the dancers and audience are in an actual room. She does share with me one of her favorite projections which is a floor to ceiling window that overlooks a city scene. “We really wanted to make you feel like you’re looking out this window from inside the room.”

When asked what the hardest part of this process has been, Nikaidoh paused for beat before saying it has been figuring out when to rely on the dancers’ strengths and when to test them movement wise. “Bruce was good at knowing when to use our strengths and when to push us. In the past I have changed movement that felt unnatural to the dancers, but in this piece I kept some of the unnatural movements anyways because I want the dancers to always be growing.” One example of this unnatural movement occurs after the dancers perform a series of winding body movements in one direction and then have to reverse the entire phrase without losing their momentum.

 

The choreography is mostly comprised of non-stop spiraling floor work and traveling movement, staccato arm gestures, collapsed body positions and naturally evolving partnering skills. When I commented that the dancers make the complicated partnering sections of this piece look effortless Nikaidoh says, “That’s because the partnering in this piece was very much a collaborative effort between me and the dancers. I would ask the dancers where they wanted to go next with the movement, which is something Bruce would always ask us in rehearsal.” This explains why the partnering sections come across as one continuous line of thought instead of a bunch of static shapes and choppy transitions. One example is when Emily Perry crawls through the legs of Albert Drake who proceeds to grab her ankles as he executes a forward roll landing on his back, which sets him up to catch Perry as she falls backwards. Another example is when Brock James Henderson spins Joy Atkins Bollinger around in small circles as she opens herself up into a starfish shape with her feet just skimming the floor.

You can see Bloom along with Bruce Wood’s classic No Sea To Sail In and Katarzyna Skarpetowska’s new work Klezmer Rodeo at the company’s SIX performance at the Dallas City Performance Hall this weekend.

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

 

Loud Whispers

Albert Drake rehearsing Whispers with the BWDP. Photo: Sharen Bradford The Dancing Image..
Albert Drake rehearsing Whispers with the BWDP. Photo: Sharen Bradford The Dancing Image.

Albert Drake makes his choreographic debut with his work Whispers, part of the Bruce Wood Dance Project’s upcoming performance marking the company’s fifth anniversary.

Dallas — After watching Albert Drake rehearse his first piece for the Bruce Wood Dance Project (BWDP) Monday afternoon at the company’s studio in the Design District it struck me that Dallas is now not only a breeding ground for uniquely qualified dancers, but also choreographers. Drake has made a name for himself in the North Texas dance community as a founding member of the Bruce Wood Dance Project as well as for his work outside the company, including teaching at Park Cities Dance and Southern Methodist University where he received his BFA in dance performance from the Meadows School of the Arts.

As a dancer, Drake is known for his explosive movement quality and innate lyricism and it was nice to see these traits represented in his first chorographic endeavor, Whispers, part of BWDP’s 5 Years performance June 19-20 at the Dallas City Performance Hall. The work follows eight dancers, including Drake and BWDP’s Artistic Director Kimi Nikaidoh, as they search for the meaning of happiness. Starting with an R&B vibe and then shifting into a fast-paced piano phrase, the 20-minute piece is broken up into various duets, trios and group sections depicting the various relationships among the dancers.

“I wanted to play with relationships that weren’t necessarily just about love,” Drake says. “There is a duet toward the end of the third section that has more of a protective quality to it and has this feeling of you and me against the world. And there are other duets and trios that more about trust and support.”

The blind support Drake talks about allows the couple to transfer their weight back and forth without qualm as they glide across the floor. Their momentum never stops even as the female slides into a split and is pulled through her partner’s legs into a steadfast fourth position relevé. The trios are dotted with dynamic leaps, wicked fast turns and buoyant floor work. A composed backward walking phrase is used multiple times, but the dancers’ changing directions keep viewers on their toes.

“I don’t like predictability,” Drake says, as he explains his penchant for the unexpected. This also makes for some exciting transition changes, such as when the dancers sprint out of the wings or get picked up one by one as a dancer runs by. And in one exuberant section all the dancers dash across the stage leaving a lone dancer to execute a controlled headstand into a series of one-footed balances performed in silence. “Creating transitions is difficult because they have to flow and take the audience on a journey without taking them in and out. As a choreographer you have to find a way to keep the audience involved and keep the whole thing circular.”

Kimi in Whispers, part of the BWDP's Five Years performance. Photo: Sharen Bradford The Dancing Image.
Kimi Nikaidoh in Whispers, part of the BWDP’s Five Years performance. Photo: Sharen Bradford The Dancing Image.

The cast is a mix of company veterans including Harry Feril and Nikaidoh and newcomers such as Eric Coudron and David Escoto. While the group danced seamlessly together Drake says it did take some time for everyone to adjust to the creative process. “The first week it was just about making sure everyone was present because, for some of the newer dancers, they haven’t gotten a lot of chances to work in the creative process. A lot of dancers get drawn into a repertory company where you learn old works over and over. In the creation process you have to be patient, moldable and willing to let go.” Drake admits that was a struggle, but once everyone got into it he says they were able to absorb the movement without prejudice and some good stuff came out of it.

It’s easy to spot Wood’s influences in Drake’s choreography. After all, Drake spent more than half his career training with the notable North Texas choreographer who passed away suddenly last year. “I adopted him early on as the mentor I wanted to be around and learn from. His previous dancers adored the man and followed him religiously and I see why. So, he invested in me and I invested in him and it was a great relationship.”

Wood’s quirky foot work, deliberate gesturing and emotional pull are seen throughout Drake’s piece, but most poignantly in the opening section where the four females each perform a gestural phrase of movement that slowly builds in intensity.

“His principles are a part of me so it wasn’t challenging to stay within his realm of movement. The hard part was moving away from it and standing out and not necessary being a replica of him. Now, I didn’t try to stray away from them, but I did want to take his principles and use them in a different context.” Wood also had the unique ability of connecting with audiences on a deeply emotional level, something Drake hopes to accomplish with Whispers. “I don’t want the physicality or the prettiness of the piece to determine how people feel. My main purpose of this piece is to keep people emotionally involved.”

The concert will also feature the Dallas premieres of Wood’s Requiem and Polyester Dreams.

This feature was originally posted on TheaterJones.com.