Is it Possible? [installment two]

Pulse's Associate Artistic Director Walter Barillas continues sharing his experiences in Washington with Merce Cunningham Dance Company.

I arrived in Seattle the afternoon of the Merce Cunningham Dance Company’s (MCDC) first program and made my way to my friend Jackie-Lou’s doorstep. She fed me a delicious vegetarian meal and a nice glass of wine before we made our way to the Paramount Theatre. But first, before I continue with this, I must digress and share something I observed earlier in the day.

As I sat on the LINK train from SeaTac to Downtown Seattle I overheard a conversation between a young couple and an older woman. Something about the lady that had me intrigued, perhaps it was the amount of energy and mental acuity she harnessed, and then it hit like a comet! I heard her tell the couple that she had arrived in Seattle to see MCDC’s performance and that she followed them around to various performances. My eyes and ears perked up and I knew that when I ran in to her I’d introduce myself and I’d share this vignette. Little did I know that meeting her less than 24 hours later and sharing a significant amount of time with her would be the highlight of my trip. More on this to come.

In the last installment I mentioned that MCDC is to dissolve January 1, 2012. If you’ve questioned why this might be, I have some insight.

Merce Cunningham decided that upon his death,  his Company was to disband after a two-year legacy tour. This is unlike other dance companies that have continued after the central figure’s death, like the Martha Graham Dance Company or the Limon/Humphrey Dance Company. The difference between  those two and MCDC is that MCDC is not a repertory company, meaning that MCDC only performs work by Cunningham while the others may perform works by outside choreographers. A two-year Legacy Tour, two-year severance package for dancers, staff and artists, and aide to incumbents for their career transitions were a few of the things Cunningham set up for the existing company after his death.

Now that you’ve gained a little insight into MCDC, its choreographer,  its significance in the Arts World and my interest in the work, the next installments will cover what I witnessed during my Cunningham/Halloween weekend in Seattle.

Stay tuned for more!

Is it Possible? [installment one]

PDC's Associate Artistic Director Goes Cuckoo for Cunningham

By Walter Barillas

As I lay in bed last month decompressing from a long day, I began thinking of the Merce Cunningham Dance Company (MCDC) and its ever-approaching dissolve date of January 1, 2012. Merce Cunningham’s work is what I’m currently most fascinated by. I appreciate its difficulty, the transformative properties it has on dancers, and his radical approach to dance making. His trajectory spans a mere 90 years! Cunningham has been named the “greatest choreographer of the 20^th Century” by Art Critics throughout the world. But what makes him the greatest, the most radical; what did he do that others did not?

Cunningham’s work was and continues to be radical in its use of compositional devices, music, and set design. His greatest collaborator and partner for nearly 50 years was John Cage, an experimental musician who is also known the world over for his compositional approach. Cunningham and Cage met in the mid 1940’s and their partnership dissolved upon Cage’s death in 1992. Other collaborators include artists Jasper Johns, Robert Rauschenberg, Andy Warhol, and most recently, Sigor Ros and Radiohead on Split Sides (2003), a piece that will later be discussed.

The most striking component of Cunningham’s work is that dance, music and set design were designed independently. Cunningham gave very little instruction or information on what he was creating; the most he would share is the length of the dance. Musicians would create a score, artists would create set design/costumes, and all three components are known to have first been merged on the date of the premier.

Cunningham’s use of chance procedures is what he is most famous for. His use of the I-Ching and the roll of dice often dictated how many dancers, what sections, where the entrances were made, and which sector(s) of the dance space would be used. A common misconception is that his work is improvised. There is very little improvisation, if any, in the many anti-ballets he created.

My fascination with Cunningham first began when I took class from Brenda Daniels. Daniels was Chair of the Modern Division at the University of North Carolina School of the Arts, at the American Dance Festival (2009) held at Duke University in Durham North Carolina, a festival that has been around almost 80 years. More on the festival and its creator, Martha Hill, will be shared in upcoming blog installments.

I was intrigued by the difficulty of the technique and Daniels’ exceptional teaching style. I proceeded to read “Chance and Circumstance,” written by Carolyn Brown, a book recommended for any dance follower or historian.  Brown was Cunningham’s dancer for 20 years -from the company’s inception through the early 70’s. She remained Cunningham’s ally until his death on July 26, 2009.

My love for his work was cemented the Summer of 2010 when I returned to the American Dance Festival (ADF) on scholarship as a staff assistant to the Executive Office assisting director Charles Reinhart (now retired), THE curator of the Modern dance world and Co Director Jodee Nimerichter, now the Director.

I assisted Jean Freebury on the reconstruction of Inlets II (1983), and for six weeks I was privy to the learning the movement, viewing original video footage, and reading Cunningham's own notes. During those weeks I positioned myself throughout the Ark (100+ year old ), viewing and taking notes for Ms. Freebury from the front, the back, the sides and even from the second floor, birds eye view. The oft- asked question “Where's Wally?” was as present there as it has been throughout Anchorage's dance studios as they were never sure as to where I had positioned myself.

As I lay in bed that mid-October night it hit me that I would NEVER get the opportunity to see the MCDC. While I was saddened, that realization quickly turned to fuel. I got online, noted that their next closest engagement was in Seattle's Paramount Theatre and purchased a ticket - not caring if my schedule would allow. It was my last chance and I had to make it happen!

-W.B.

Keep an eye out for the next installement of Walter's Cunningham adventures! Next up: the events and behind-the-scenes as MCDC prepped for their performances.

PULSE Dance Bag GIVEAWAY!

“Like” Pulse's giveaway photo album (here) for a chance to win an awesome tote bag filled with goodies! Your signature “I <3 Pulse” dance bag makes the perfect accessory in or out of the studio. Cute, comfy and packed with delights, your tote includes:

-          Hot pink stirrup legwarmers by Sansha (So warm when it’s so cold!)

-          Medium weight Bunheads exercise band (work it, work it!)

-          One set Bunheads bobby pins (we can never have enough, right?)

-          Refreshing, moisturizing foot scrub by Earth Therapeutics (ahhh…)

-          Acrylic & Silver ballet dancer ornaments.(Get ready for the holidays with the cutest little dancers!)

The winner will be selected through a random drawing the afternoon of Friday, November 4^th. “Like” now, dance away happy later!

The Art Form Behind All Those Good Pulsations

By Cassidy Davis

Guest Columnist, Ballerina, PULSE Board Member

From twists and tilts to elongation and elegance… just what is the art form behind Anchorage’s hottest dance company? The answer is a melodious, magnificent and at times melancholy fusion of performance art and modern dance.

Originating in the early part of the twentieth century, modern dance developed from a desire for dancers to express themselves without the rigid structure and technique required by ballet. Modern dance, often fused (and confused) with contemporary dance is based on free style movement of the limbs. Involving most parts of the body, a defining characteristic of modern dance is the exploration of gravity and balance by allowing dancers to emphasize their movements through use of their body weight. Technically, it has grown in leaps and bounds since its beginnings– pun intended.

Requiring an immense amount of stamina, modern dance is often choreographed using emotion and new or abstract ideas as inspiration. It can range from light and playful to deep and thoughtful. The beauty of modern dance is the ability to express one’s feelings or perspectives on issues through movement. This was specifically displayed in Pulse’s Season One performance of Poem One, which effectively conveyed ideas of the relationships between life, death and cellular structure. 

Traditionally seen as a form of entertainment, modern dance has evolved into a way for dancers to portray grander ideas. It has become a staple in a well-rounded dancer’s skill set, and its ability to be received as a passionate and breathtaking experience is what appeals to so many.

What is it about modern dance that speaks to you? Find out at Pulse’s Season Two Concert this January.

Droege goes Gaga: a PDC member's voice

By Rachel Droege
Pulse Company Member &
Guest Blogger

Being a dancer for Pulse Dance Company, I am often asked what inspires me to dance. The answer is complicated; everything around me is some sort of inspiration, and I find impetus in things such as the people that I meet on a daily basis as well as the place that I live and how I interact with it. There is, however, one definite thing that pushed me into the art of modern dance, and that is the Israeli dance troupe Batsheva Dance Company.

    Founded in 1964 by modern dance pioneer Martha Graham and Baroness Batsheva De Rothschild, this dance company pushes all the right buttons and urges the viewers to challenge their own perspectives and live in the given moment. The company is now directed by Ohad Naharin and their works continue to fascinate me.

    One of the reasons I find Batsheva so incredible is that they operate in a dance style called Gaga--not to be mistaken with our Lady Gaga—and, interestingly enough, everyone has the ability to do it. The company leads gaga classes both for “people” and for “dancers,” giving everyone who has a passion for dance the opportunity to explore time and space in a new way. You may be wondering now, “What IS gaga? How is it different from any other kind of modern dance?” Ohad Naharin explains:

    “Gaga is a new way of gaining knowledge and self awareness through your body.  Gaga is a new way for learning and strengthening your body, adding flexibility, stamina and agility while lightening the senses and imagination.  Gaga raises awareness of physical weaknesses, awakens numb areas, exposes physical fixations and offers ways for their elimination.  Gaga elevates instinctive motion, links conscious and subconscious movement.  Gaga is an experience of freedom and pleasure. In a simple way, a pleasant place, comfortable close, accompanied by music, every person with himself and others.”

    The most interesting aspect of this style is the awakening of numb areas and becoming aware of your weaknesses; only by overcoming them and realizing that you are alive can you fully express yourself and be conscious in your own body. Even if you aren’t a dancer, get up and dance--move around, become aware, and wake yourself up! If you’re interested in more of Batsheva Dance Company’s works, check out their summer intensives in Tel Aviv or simply watch some videos after the jump.

-R. Droege

"Three" -  http://www.youtube.com/watch?v=rCaHbOLGXfY
"Deca Dance"- http://www.youtube.com/watch?v=hz6nUMwlSqY

Magical First Blog Entry

Hello friends, fans, and art enthusiasts:

Welcome to our blog! It was created for you by us... and with love.   ;)

PULSE Dance Co. is extra busy this season crafting something spectacular, and we wanted to keep you a close part of the intimate process of creating. We'll dance a happy dance if you follow us on facebook or twitter, but this is the place for you to access exclusive inside perspective.

We've revamped and can't wait to share our passion with you. Stay tuned for our Fall/Winter schedule to know when we'll be doing what, and where!

For now, don't miss your last couple of chances to take part in our Play with Pulse workshops; they've been receiving rave reviews!

xoxx,
The Co.