AKA: Ballet offers up a unique experience for both viewers and performers at the Latino Cultural Center tomorrow night.
From left: Carter Alexander, Hailey von Schlehenried, and Albert Drake of aka: Ballet. Photo: AKA: Ballet
Dallas — Hailey von Schlehenried is one of many local choreographers reaping the benefits of the changes that have been made to the Dallas dancescape over the last several years. Von Schlehenried first caught the public’s eye at Avant Chamber Ballet’s 2017 Women’s Choreography Project (WCP) and then again at Dallas DanceFest (DDF) later that summer. She has also recently been asked to set a piece for Wanderlust Dance Project, which marks another first for the blossoming artist.
It was at DDF where von Schlehenried met Carter Alexander (associate artistic director for Chamberlain Performing Arts) who asked if she would be interested in doing a collaboration the following summer. One thing lead to another and von Schlehenried is currently in the final stages of two new works, which will be presented alongside new pieces by Alexander and Albert Drake of Bruce Wood Dance at AKA: Ballet’s premiere performance at the Latino Cultural Center this Friday.
The performance will feature many familiar dancers, including Kaitlyn McDermitt, formerly with Avant Chamber Ballet; Alyssa Harrington, formerly with Dallas Black Dance Theatre; Alizah Wilson, Adrian Aquirre of Bruce Wood Dance; and Riley Moyano, Amanda Fairweather and Alex Danna of Texas Ballet Theater.
“We are so happy to have these dancers and they have been working so tirelessly in preparation for the show,” von Schlehenried says.
For this performance von Schlehenried has created two pieces: a classical pointe number and a more contemporary work. She describes the pointe work as fluid and free, and in contrast the contemporary work is visually darker, which meshes well with its theme about sinning. “I was really inspired by the music for the contemporary piece which is really centered on the idea of sin. The dancers pass around this scarf throughout the dance, which represents this idea of passing off our sins to someone else,” von Schlehenried says. “And the pointe piece is all about letting go and getting the dancers outside their classical boxes so that they appear to be surrendering to a situation.”
Von Schlehenried says her dancers played a big part in the creative process for both pieces. “I really wanted this to be a collaboration so I had the dancers brainstorm with me, which really makes them feel like they have a say and also relaxes the dancers. They all possess this amazing creative energy which helped make the process so much easier.”
Von Schlehenried is especially close with McDermitt who has had a role in almost every work she has put out since 2013. She even goes as far as calling McDermitt her lucky charm. “It just seems that every time I am working on a special project Kaitlyn is always in it. She is such a lovely person and is so into what she is doing, which really makes her a positive force for me and the arts community.”
McDermitt has definitely been paving a way for herself in the Dallas arts scene with gigs, including a couple of seasons with Katie Cooper’s Avant Chamber Ballet, performances at local festivals such as Plano Dance Festival and DDF as well as partaking in local arts events, including Dallas RAW and AKA: Ballet. She also teaches at Royale Ballet Dance Academy in Dallas and is a member of Ballet North Texas. She graduated from Southern Methodist University’s Meadows School of the Arts with a BFA in dance performance in 2012.
You can see McDermitt and the other performers in von Schlehenried’s, still untitled, works this Friday evening at the Latino Cultural Center. Tickets are available at www.ticketweb.com. You can make a donation to the show at www.fracturedatlas.org.
I was starting to wonder if Dallas DanceFest was even going to happen this year, but my reservations were laid to rest last week when the Dance Council of North Texas announced on its Facebook page the dance companies that will be participating in this year’s festival, which has been strategically renamed Dallas Dances.
The festival has received criticism from the beginning about its focus on mainly local dance companies and for its inclusion of pre-professionals from the Dallas-Fort Worth area. Local Dance Critic Manuel Mendoza touched on these sore points in his review of last year’s Dallas DanceFest, which boasted the question “Why doesn’t Dallas have the dance festival that it deserves?”
In his review Mendoza basically says that by including the pre-professional dance studios, high schools and university programs in the area the festival is actually doing a disservice to the more established dance companies in the area.
He writes, “North Texas professional companies are the ones putting the area on the dance map even as they struggle to find suitable places to perform in a town starved of small, affordable venues. They are the groups competing for public and private grants so they can aim high, so they can someday pay their dancers something close to what their New York counterparts earn.”
He continues, “Most important, they are the ones doing the most complex, interesting work.”
What I think people are overlooking is that the mission of the Dance Council is not to exclusively support and promote just the professionals in the area, but also the up and coming professionals that stem from the local studios, performing arts schools and universites. And I think this is where the mission of Dallas DanceFest starts to get murky. Is the festival suppose to only highlight the professionals in the area? Or is its main target the young professionals and giving them a unique performance opportunity?
Apparently festival organizers have decided it’s a little bit of both if this year’s line up is any indicator.
I think the Dance Council has come to realize that they should stick true to their overall mission, which is fostering and promoting every type of dance and dancer in the Metroplex and I believe the name change better reflects the vibrancy and diversity of the Dallas dance community.
With that said, here are the dance companies performing at this year’s Dallas Dances:
Around the Holidays the NorthPark Mall in Dallas turns into a zoo thanks to the upscale mall’s unique holiday attractions which include Santa Claus, the trains and Sights and Sounds of the Season, which is a FREE performance series featuring the musical and movement stylings of schools, churches, synagogues and community and professional dance troupes from around North Texas. The performance series runs Nov. 28 through Dec. 22nd and the Dillards’ Court and North Court and again this is FREE!!!
With two little ones at home I am well versed with the trains and Santa Claus attractions at the mall, but I am a little embarrassed to admit that I have never stopped to watch any of the dance performances presented by the many well-known professional and pre-professional companies in the area. That is going to change this year especially since the only way to see Bruce Wood Dance’s Mistletoe Magic will be through this performance series. (Bruce Wood Dance performs tomorrow at 1pm in the North Court area.)
Looking at the performance line up online, I am amazed with the number of dance companies both professional and pre-professional that will be presenting in these 30-60 time slots as well as the variety of movement styles that will be showcased. I mean this Saturday alone starting at 10am you can catch some of the most popular names in the Dallas dance community, including 8&1 Dance Company, Anita N. Martinez Ballet Folklorico, Booker T. Washington High School for the Performing and Visual Arts, Bruce Wood Dance, Dark Circles Contemporary Dance, Danielle Georgiou Dance Group and Contemporary Ballet Dallas.
After checking in with some of these companies on social media, I can tell you that Dark Circles Contemporary Dance will perform Joshua L. Peugh’s Les Fairies as well as a section of a new work that Peugh is planning to introduce in the spring. OK! that alone has me hooked! Danielle Georgiou Dance Group will also give us a sneak peek of a new creation and perform Colby Calhoun’s Bedtime Stories. And Contemporary Ballet Dallas will perform to some holiday classics along with the school’s student ballet, tap and hip hop youth ensembles.
And while I have already included a link to the full line up, I wanted to pull out some special dates for all you dance lovers out there so you can go ahead and mark your calendars:
Dallas Black Dance Theatre Academy Performance Ensembles
The Hockaday School Dance Department
Texas Ballet Theater Dallas School
Collin County Ballet Theatre
Chamberlain School of Ballet
Avant Chamber Ballet
The Ballet Conservatory
Bombshell Dance Project
Dallas Ballet Company
I hope to see you all there!!! Get there early to find a parking spot and claim a front row seat!
Stephanie Rae Williams of Dance Theatre of Harlem returns home for the Sweatt Dallas Dance Festival and the Dance Council Honors this weekend.
Dallas — As the oldest of six siblings, Stephanie Rae Williams says her parents had to get creative when it came to financing her love of dance, especially classical ballet. Williams credits her mom with discovering the South Dallas Dance Festival scholarship, which also happens to be where she will be performing this weekend, along with attending the Dance Council Honors (DC Honors) where she will receive the Natalie Skelton award for artistic excellence by the Dance Council of North Texas. “My mother is such an amazing woman and she just wanted me to have all these different opportunities in dance and so, she was really the one who sought out different scholarships that were available and helped me apply for them,” Williams says. Her mom’s hard work paid off in 2005 when Williams was awarded the South Dallas Dance Festival scholarship, which she used to attend Julliard’s summer intensive that same year. The scholarship also gave Williams the opportunity to perform at the SSDF, which was a big deal for the 16 year old at the time. “I think I performed a classical piece, which is nothing like the solo I will be performing this time.”
The event, newly renamed Sweatt Dallas Dance Festival in honor of Mary Lois Sweatt (1939-2016), runs Oct. 27-28 at Ann Richards Middle School and includes performances by Williams, Sydney Winston (2017 SDDF scholarship recipient), Beckles Dancing Company, 410 Line Dancers, Images Contemporary Dance Company and Momentum Dance Company, just to name a few. The schedule also features a master class with former Bruce Wood Dance Company member Christie Sullivan, a youth dance showcase and an industry roundtable. The event is made possible by Arga Nova Dance with the support of Ann Richards Middle School and South Dallas Cultural Center.
For SDDF, Williams will be performing José Limón’s Chaconne, courtesy of Dance Theatre of Harlem (DTH). Out of the four casts, Williams was the only female chosen for the solo, which she describes as modern-based and challenging, yet extremely satisfying to perform. “There’s something really gratifying about the way Jose Limon choreographed this piece. It feels like you evolve as a human being throughout it and by the end of it you’re like dead, but alive at the same time.”
Growing up in Allen, Texas, Williams started her dancing at Texas Ballet Theater School (formerly Dallas Dance Academy) when she was 8 years old. She grew up training in ballet, jazz, lyrical, tap and hip-hop with Joyce Seaborne Bader, Lyndette Bader and Fiona Fairrie. After graduating from Allen High School, Williams joined Ben Stevenson’s Texas Ballet Theater for a season before heading to New York City. There she worked with Desmond Richardson and Dwight Rhoden at Complexions Contemporary Ballet before joining DTH’s ensemble company in 2010. After DTH returned from hiatus with Virginia Johnson at the helm in 2012, Williams was then asked to join the revived company and has spent the last five years here gaining more confidence in herself and her craft. “It’s the first company that I was able to make my home and really feel like I could grow and be nurtured there. What’s interesting is that half that dancers that came with us to Dallas in 2014 have moved on and yet I am still here. It’s surreal being one of the veterans that the new company members now come to show them the ropes.”
When asked if she ever gets the urge to explore opportunities outside of DTH, Williams responds, “Yes, I do sometimes get the urge to explore opportunities outside of DTH, and I have done that with Virginia’s approval, but DTH remains my home base.” Williams mentions that she just completed four shows with the Seattle-based Arc Dance Company, which she says Johnson was nice enough to allow her to do. “It a lot of fun because for once I wasn’t the seasoned dancer. I was the new girl and I feel like it’s really important to challenge yourself and not get too comfortable anywhere, and so I am really thankful I have a director that encourages these types of opportunities.”
As far as what Williams is looking forward the most at SDDF, she says, “Just mingling with everyone there and also seeing so many smaller dance companies from professional to the local high schools perform. And because it’s not just the professionals performing this really does feel like the whole South Dallas community is coming together to celebrate dance throughout these three performances.” Williams adds that she is also looking forward to seeing the kids attending the festival as she believes there are not enough black dancers for them to look up to in the industry today, especially in classical ballet. “I was the only black girl in my entire dance school, but I just thought that this was the norm. It wasn’t until I walked into DTH to audition that I noticed there was this whole other side missing from my dancing because at DTH when we dance there’s this whole other type of soul that we bring to the stage.”
While in town Williams will also be attending the DC Honors where she will receive the Natalie Skelton award for artistic excellence. The event takes place at Dallas Black Dance Theater on Sunday afternoon and will include food, a silent auction and performances by local companies and scholarship recipients. In addition to Williams, this year’s honorees also include Kathy Chamberlain, Patty Granville, Alpana Kagal Jacob and Malana Murphy. As far as Williams’ reaction to the award news she says, “I was both humbled and excited when I heard I would be receiving this honor. It’s just really nice knowing that I have so much support here in Dallas and it means so much to me to be recognized in this way.”
The Dance Council Honors has thankfully split from Dallas DanceFest and will return to its more intimate setting at Dallas Black Dance Theatre.
I know I am not the only person happy about the fact the Dance Council Honors(DC Honors) will no longer be squeezed into Dallas DanceFest (DDF). For the last few years the DC Honors has occurred in conjunction with DDF and unfortunately has suffered as a result with the main complaint being the length of each evening’s program.
The presentation of the awards also lacked the comradory and celebratory atmosphere that has always been a part of the DC Honors, which is why I am glad that the event has split from DDF and will be returning to Dallas Black Dance Theatre on Oct. 29 for some food, fun and fantastic dancing. And, of course, we will hear from this year’s DC Honorees, which include Kathy Chamberlain, Stephanie Rae Williams, Patty Granville, Alpana Kagal Jacob and Malana Murphy.
Over the last couple of decades, these incredible individuals have made huge strives to better our local dance community thanks to their passion, dedication, knowledge, cultural awareness and above all love for the art form of dance. Because God knows we are not in it for the money!
I know I will be there to watch Kathy Chamberlain as she receives the Mary Bywaters Award for her lifetime contribution to dance.
I met Kathy one day at Sandy’s Shoes and Dancewear back in the summer of 2009. I had just moved to Dallas from Cleveland and knew absolutely no one in the local dance community. She took me under her wing and she and I had multiple phone conversations about the ins and outs of the Dallas dance scene. She is the one who lead me to local dance writer Margaret Putnam. I started off by reading a lot of Margaret’s reviews, which at the time were published in the Dallas Morning News and TheaterJones.com (TJ). This eventually lead me to contact TJ where I have now been writing dance previews, Q&As and reviews for the last six years.
Kathy was ultimately the one who jump-started my career here in Dallas and I will forever be grateful to her. And her willingness to help me is also one of the things I like most about our local dance community. Although everyone is technically in competition with one another they are always willing to lend a helping hand and offer up support when needed. So, I recommend offering your support to the dance community by coming to this year’s DC Honors. Even if you don’t know any of the honorees you should still come. I did when I first moved to Dallas and it taught me a lot about the city’s dance culture and the wide range of work being made here as well as the wealth of talent being fostered in our city schools and studios. You should definitely check it out!
I have included the official press release below:
For Immediate Release:
WHAT: Dance Council of North Texas 2017 Honors
WHEN: Sunday, October 29, 3:00 P.M.
WHERE: Dallas Black Dance Theatre, 2700 Ann Williams Way, Dallas, TX 75201 in Dallas Arts District
Dance Council of North Texas is pleased to honor five people within the area dance community who have made a significant contribution to world of dance.
Kathy Chamberlain is receiving the Mary Bywaters Award, which recognizes a person who has made a lifetime and significant contribution to dance. Dance Council of North Texas is delighted to join with Chamberlain School of Ballet, (CSB) Plano, as itcelebrates its 40th Anniversary. Chamberlain School of Ballet is the supporting school for Chamberlain Performing Arts, a leading North Texas pre-professional dance company founded by Ms. Chamberlain. She received the prestigious Ford Foundation Scholarship for study at the School of American Ballet, NYC.
Stephanie Rae Williams is the recipient of theNatalie Skelton Awardhonoring a person who is currently performing. Ms. Williams was featured in Dance Magazine’s “On the Rise” in 2013. In 2005, she received the South Dallas Dance Festival Scholarship from DCNT. Stephanie was a Fellowship recipient at the Ailey School, a 2006 Youth America Grand Prix Winner as well as a 2006 Youth America Grand Prix Finalist. As part of DC Honors, Stephanie will perform My Funny Valentine, choreographed by Darrell Mourie. She appears through the courtesy of Dance Theatre of Harlem, NYC.
The Mary Warner Award for service in dance recognizes Patty Granville, who exemplifies
the individual whose vision is essential to the dance community. Ms. Granville has been the Director of the Garland Center for the Performing Arts since its opening in 1982. As one of the founders, she has served as producer for Garland Summer Musicals since 1983. In 2003, the Garland City Council unanimously voted to rename the Performing Arts Center to the Patty Granville Arts Center. Patty provides countless opportunities for performers, musicians and craftsmen to participate in musical theatre.
Larry White Educator Awardrecognizes Alpana Kagal
Jacob for her inspiring and innovative contributions to her students’ development. After her Arangetram and graduation, she has been teaching Bharata Natyam to young children and adults. Alpana has been a guest lecturer at both UNT and TWU and has served as choreographer and teacher for Dallas Theater Center Summer Workshop projects. Alpana has taught at Booker T. Washington High School for the Performing and Visual Arts, Brookhaven College and Richland College. She is a disciplined and loving teacher to all her students.
Buster Cooper Tap LegendAward celebrates the exemplary contributions of Malana Murphy to America’s original dance form: tap. Malana began her professional career at the age of 14 while performing in the production of Calling All Kids, choreographed by Gracey Tune. In addition to graduating from Booker T Washington High School for the Performing and Visual Arts, Malana has performed commercially and in industrials. Malana’s love for tap dancing has inspired her to share her passion and knowledge with students locally and across the United States. She is also the head of the local tap dance festival RIFF, which stands for Rhythm and Fusion Festival.
DBDT: Encore! will perform as well as Dance Council 2017 scholarship recipients. The opening number is generation# (sic) choreographed by Tammie Reinsch of Ballet Ensemble of Texas. Doug Voet of Uptown Theatre in Grand Prairie will serve as the event’s emcee with Dallas Black Dance Theatre veteran Nycole Ray providing production assistance. Reception, refreshments and a silent auction will complete the afternoon’s agenda.
$35 – ADULT
$30 – MEMBERS, Dance Council of North Texas
$20 STUDENTS, ages 13 through 18.
STUDENTS, ages 12 and under: Free when accompanied by an adult
Dallas native Parisa Khobdeh shares what it means t be a Paul Taylor dancer, fostering her free and easy movement quality and the company’s upcoming performance at the Eisemann Center.
Richardson — It takes more than strong technique and individual virtuosity to make it as a member of the Paul Taylor Dance Company. It also takes humility, authenticity and a natural self-awareness as company member Parisa Khobdeh has discovered over the past 12 years.
Born and raised in Plano, Khobdeh trained with Gilles Tanguay at Dance Consortium and Kathy Chamberlain at the Chamberlain School of Ballet. It was Chamberlain who encouraged her to audition for Southern Methodist University’s dance program where she got the opportunity to work with choreographers, including Robert Battle, Judith Jamison and Donald McKayle. Her path as a professional modern dancer wasn’t cemented until she attended the American Dance Festival (ADF) as a Tom Adams Scholar where she saw the Paul Taylor Dance Company perform Promethean Fire (2002). The first time she auditioned for the company she didn’t make it, but that didn’t deter her from her ultimate dream of becoming a Paul Taylor dancer. After attending a Taylor intensive in New York Khobdeh made it through her second audition and premiered with the company at ADF in summer 2003.
One of the last living pioneers of modern dance, Paul Taylor first presented his choreography with five other dancers in Manhattan in 1954. Over the last 60 years he has become a cultural icon thanks to his vivid imagination, all-encompassing intellect and quick eye for uncovering a person’s character, which continues to captivate audiences around the world. Formed in 1993, the Paul Taylor Dance Company has performed in more than 540 cities in 64 countries, representing the United States at arts festivals in more than 40 countries and touring extensively under the aegis of the U.S. Department of State.
The company returns to Dallas Feb. 7 for a one-night only performance at the Eisemann Center for Performing Arts in Richardson, TX. The program includes the Dallas premiere of Diggity (1978), Beloved Renegade (2008) andCloven Kingdom (1976). There will also be a screening of the Paul Taylor documentary Creative Domain, presented by the Eisemann and the Arts Incubator of Richardson, at 7 p.m. on Thursday, Feb. 5 at the Alamo Drafthouse in Richardson. Tickets for that are $10.
TheaterJones asked Parisa Khobdeh about her training in Dallas, becoming a Paul Taylor dancer and having work set on her by the legend himself.
TheaterJones: You have been with the Paul Taylor Dance Company for more than 10 years. What is it about the man that instills such loyalty from his performers?
Parisa Khobdeh: I don’t see it as loyalty so much as it is a commitment to him and his work. We are really a family and look out for one another. Mr. Taylor has an eye for uncovering a person’s true character. He notices things that aren’t always apparent to the rest of us when he is auditioning people. He chooses not only really beautiful dancers, but also people with really great souls. And because of that you don’t see a lot of turnover among the dancers in the company. I joined the company at 22 and it has been a place that fosters artistry. There are a lot of revolving-door companies out there. They emphasize the technical virtuosity and not necessarily the depth of humanity, which is what Mr. Taylor’s work, embodies. His work reflects his physicality, beauty and well-structured physique. And then the dance itself is structured to show architecture through space and that is something that sets his work apart from others choreographers.
In a 2007 DanceMagazine article Mr. Taylor refers to the way you move as eye-popping. How does it feel to receive such a compliment from such an illustrious source in the modern dance world?
Oh gosh! I don’t really think about it to be honest. What I feel for Mr. Taylor is complete love and support. He has a beautiful soul and such a big heart. Every day we get the opportunity to work around a genius. So, back to your question I really don’t think about the things you just mentioned. This has definitely been a wonderful place for me to foster my artistry. Mr. Taylor really allows the dancer to speak and fulfill the role given to them. And I think that’s why his company attracts more mature dancers. It’s woven into the work, these subtleties of being human. He sees things a certain way and then shows you where to look and it’s really just been a wonderful place to expand and experience life for myself. To learn from him, watch him create and then to be created on is such an honor.
You are the focus of his works Lines of Loss (2007) and To Make Crops Grow (2012). What is the atmosphere like in the studio when the company is working with Mr. Taylor?
We are all very present when he is creating. Entering the studio Mr. Taylor already has the music broken-up and counted out; he has his notebook; and he knows what and how many dancers he is going to use, but he knows there is only so much you can plan. It’s now a matter of going into the studio and having the process and that’s when the energy between the dance maker and the dancer really comes to life. And you need that process and coming into the studio. You can’t just make a dance in your head in your house. It’s exciting and seldom is it disappointing because if you are not being created on then you are watching him create which is a gift in and of itself. Sometimes he will articulate what he wants and if you don’t get it then he will get up and show you and you get to experience the dancer that he is. There is such a beauty when he comes up and touches you. When he actually moves you there is a touch memory there that stays with you even after performing the work for the hundredth time. It’s really a sacred process.
When did you come to the realization that modern dance was the right path for you?
I actually started my dance training with Julie Lambert and Gilles Tanguay at Dance Consortium with would later merge with Kathy Chamberlain’s school. I was 14 at the time and I really danced because it was fun. With Gilles I learned a lot of modern movement, but when I joined Kathy’s school the focus was more on classical ballet. The school also offered classes in other styles of dance, but most of the students spent their summers at the School of American Ballet and I was never really moved by the storybook ballets. I appreciated them, but the form didn’t really speak to me. It was Kathy who encouraged me my senior year of high school to audition for the Southern Methodist University’s dance program. So, I auditioned and got in and really had no idea what I was getting myself into. At the time I wasn’t interested in becoming a dancer, but I began to waver after taking Graham technique and working with various choreographers such as Robert Battle, Judith Jamison and Donald McKayle. But most importantly I was seeing a lot of modern dance work created by Paul Taylor and Merce Cunningham. I was starting to see works that really spoke to me and that was a big game changer. So, it wasn’t until the end of my junior year when I went to the American Dance Festival (ADF) where the Paul Taylor company premiered Promethean Fire (2002) that I knew this is what I wanted to do. I didn’t just want to dance for Paul Taylor; I had to dance with Paul Taylor.
Looking back how did attending festivals such as ADF prepare you for your future as a professional dancer?
The SMU dance program required you to attend festivals, but Kathy Chamberlain has always encouraged her dancers to go and see dance and for good reason because perspective is everything. And honestly I didn’t know what dance was capable of doing. And I sense that had I not seen some of those performances I wouldn’t have known what I wanted.
As a dancer who is over 30 years old how do you avoid burning out or becoming jaded by the industry?
I think it’s about awareness and consciousness and you are ultimately in control of all of that. Nothing external to you like a choreographer, job or partner will make you happy. Happiness is our birth right. Ultimately, we all have our different paths, but it’s still up to us to have that consciousness to dream up what our life could be. We all have the same potential and it’s just a matter of how bad do you want it. How hard do you want to work at it and I think that’s just consciousness. Mr. Taylor beautifully transmits content and depths of life. There are probably a lot of young dancers that it’s all about becoming a star and in that case the Paul Taylor company is probably not right for them. It’s definitely not the place for them because it’s not about you. If you can come from a place of true contentedness and not competing with other dancers then the work doesn’t become hard or unenjoyable. It becomes an experience and it becomes gratitude. You get to see the beauty in life for its simplicity and sweetness.
The other part of it is being healthy and not smoking or drinking, and to really have a clean lifestyle. That’s what I need to be able to do the work that I’m content with and happy about. I am not saying any of these things are wrong. The kind of vigor and the expectations that the work demands of an artist actually causes me to eat consciously. I had a major injury that took me out and it was really a gift because it allowed me to want to come back to dancing. It was a gift to be able to watch work and watch my colleagues do what they love to do it. It gave me perspective. And then to be able to go back to doing it, I only felt gratitude.
How does it feel to get to perform in your hometown?
I definitely feel like I have come full circle. But what is most exciting is seeing how the city and dance community has changed since I left 12 years ago. That’s really the beautiful part of coming back to Dallas. It’s wonderful that there are presenters like the Eisemann Center and TITAS to bring in such amazing dance companies. You know, it’s not just about the dance schools, but it’s also about seeing dance and gaining perspective.
The evening’s program includes Diggity (1978), Beloved Renegade (2008) and Cloven Kingdom (1976). Which pieces will you be performing and how does each piece speak to you?
I will be performing in Beloved Renegade and Cloven Kingdom. Having a strong ballet background and exposure to other styles thanks to Kathy and SMU made learning the material easier for me. And obviously Mr. Taylor is from the school of Graham so his style is not too far off from what I am use to. Still, I was young when I joined the company, 22, so there was a lot for me to learn and it takes years to become a Taylor dancer. With more than 140 works in his repertoire these three pieces give you only a small taste of Mr. Taylor’s aesthetic. He shows you where to look in all his works, but then you have to do the discovering for yourself. Beloved Renegade is a perfect example of this. It’s inspired by Walt Whitman’s “Leaves of Grass.” And how it looks to me is Mr. Taylor is reflecting on his own life or man reflecting on his own life and reminds of a quote “find death before death finds you.” I think Mr. Taylor even said that all stories end the same way and that’s with death. That’s the one thing we do know. But the work is not morbid at all.
Cloven Kingdom is the earliest work on the program and really reflects Mr. Taylor’s intellectual hunger. You can see the tension between the Baroque and modern music, but also the tension among the dancers as they struggle with social conformity as they try to disguise their own animal motives. So, you see that struggle and that conflict and the movement vocabulary within the work ultimately came out of this tension between what’s socially acceptable and our true primitive nature. Diggity is a work Mr. Taylor did with long-time collaborators Donald York (composer) and Alex Katz (sets and costumes). There’s 20 some cutouts of dogs placed around the stage which in turn creates an obstacle course for the dancers.