Jacob's Pillow gala performance review + Daniil Simkin in my home.

Well, sort of. We'll get to Daniil.

In search of inspiration, reinvigoration, and exposure to the larger dance community, I packed my bags and jetted from Anchorage, AK to Boston, MA. It's a long and tiresome journey - especially when you learn that flying into Hartford, CT would have been closer to the Pillow than Boston - but hey, I learned something. Like Dunkin' Donuts is everywhere, and Bostonians are some of the kindest humans I've ever met. I'm loving the people.

Onward: I couldn't wait to set foot onto Jacob's Pillow grounds, and after settling in at my charming Airbnb abode, nestled in the midst of Sherwood Forest, I headed over with butterflies in my stomach.
It is... amazing. The structures built by Ted Shawn and his men still stand; the history and valuable, fleeting moments in dance still buzz between the walls. This historic place is special, and you can feel it in your bones. And like a kid left alone with the cookie jar, I had to jump onto the Inside/Out stage for a happy dance. You know, that outdoor stage with the breathtaking view of the Berkshires. It was a lovely afternoon spent on the campus, and I returned the following eve for the season opening gala.



The evening began with cocktails in an expanded Blake's Barn, hosting a collection of Pillow Archives and interesting, pivotal, and behind-the-scenes moments in dance.

The best part, of course, was the gala performance. Friends, I can not emphasize enough the magic of those particular works together on that particular night and stage. I was seated in the front row, audience left, and while I normally prefer to view dance from more of a distance, it really was the perfect seat. Flanked by portraits of Ted Shawn to my left and Ruth St. Denis on my right, I could hear the dancers on the other side of the curtain, and all was right in the world.

JACOB'S PILLOW GALA PROGRAM 2015Neenan - Gerring - Peck - Graham - Van Cauwenbergh


The production opened with the world premiere of new work by BalletX director Matthew Neenan, set on fall color-clad students from the school at Jacob's Pillow. Mind you, these ballet students hailing from schools from Hong Kong and New Zealand to Amsterdam and Ohio weren't casual dance hobbyists. I am confident that this is only the start of very successful careers for most all of them; to see such budding artistry in combination with their technical accomplishments was inspiring. Not to mention, they learned this substantial piece in a matter of four days.

Neenan's choreographic voice is clear. Clever, spritely shifts in movements, gestures, and contact between dancers kept me engaged. From soloists to the surprise entry of another large group of dancers, to dynamic duets, Neenan kept presenting fresh movement ideas utilizing both balletic and pedestrian vocabulary. The heavy flop of a turned-out foot felt very "Forsythe" and was one favorite of a few movement motifs that occurred just enough times for me to enjoy and cling to. By the time the 22 program dancers reached their final positions, I was fully satisfied. 

Liz Gerring's company presented an excerpt from Glacier, set one time only to "Whole Lotta Love" by Led Zeppelin. The piece begins with two dancers charging in with crouching slides, and eventually, three more powerhouse movers join for rapid-fire explosions of kicks and jumps, broken up by slow-moving, grounded duets in which the dancers sometimes connected with each other's eyes intensely, and at other times clearly chose to look in different directions. I appreciate the work for the sheer amount of athleticism required to dance it.

In Bright Motion was a piece created by Justin Peck (we've all seen Ballet 422, yes?) for Sara Mearns, performed by Mearns and Russell Janzen of New York City Ballet. It was surely a supremely challenging duet, and Mearns (and her gorgeously striated thighs) was stunning, but the work felt too packed full of steps for me to fully enjoy the dance itself. Her white leotard could use some thicker lining (NYCB costume shop - please take note!), but both dancers filled the stage with the kind of impeccable execution and prowess I was expecting, and so glad I got to experience. Live accompaniment by pianist Michael Mizrahi made it feel all the more intimate, and the dancers' final glance back at one another was just the right touch.

Now let's get real(ly modern). It was probably 2004/5 when I was first exposed the Martha Graham's Errand Into the Maze. There I was, sitting in my college Dance Appreciation class watching fuzzy VHS footage of one of the most iconic works in modern dance history. It was also the year that I realized I was going to to make the performing arts a larger part of my life. I had things to say. And so did Graham! And so she did!

Before the piece began, the stage began to rumble, and  - gasp! - the entire upstage wall parted to welcome the cool evening air, and lush green trees gently rustled as the performance's backdrop.
If ever there were a performer who could execute the choreography as Graham had intended it to be, surely PeiJu Chien-Pott is the one to do it. Lithe, strong and powerful, she performs with a heart-wrenching depth and sensitivity, matched only by her masterful ability to so clearly articulate every integral movement in Errand. I'll never forget the clouds of her breath hanging in the chill.

I was a little caught off guard by the netted face masked-man/minotaur who joined her, minus the usual horns. Something was off, and I realized that the costumes weren't the originals, and most of the important props were missing. I assume this may be because those items were damaged in the hurricane Sandy flood of the Cunningham/Graham prop storage space, and have yet to be replaced (?). Even so, the work is a masterpiece and was so deftly, meticulously executed by the performers that I didn't much care. Chien-Pott is a Graham goddess.

Of course, the evening wouldn't have been what it was without Daniil Simkin so perfectly cast as a charming, funny, slightly sloppy, and utterly hilarious soloist in Ben Van Cauwenbergh's Le Bourgeois Gentlehomme. I just kept thinking, "Could this get any better?!?!" The answer is no, it was the Best. Simkin is a brilliant performer, a ham-of-a-man whose slightest hand gesture sends the imagination reeling. The choreography was simultaneously witty, goofy and accessible, and Simkin proved that you don't need to make it to the moon to defy gravity. Fancy footwork, whirling leaps, and Harry Potter-esque spectacles were the cherry on top of an absolutely glorious evening of dance.

But ah, yes. I get to take Daniil home with me. Don't worry, he's alive and well, but despite his flexibility, couldn't quite fit into my suitcase. So, one silent auction later, his banner photo and Trey McIntyre's "Isvel 1" image from The Cuba Series, will be chillin' in Alaska in the very near future.



I'm off to New York to take some dream classes before returning to the Pillow. I'll be in touch, and as always, you can follow along on Instagram to experience the adventure, too.
Keep dancing, my friends.

xo
Stephanie Wonchala
Pulse Dance Co. Artistic Director/Choreographer

On Hindsight

Click here to view excerpt from Ever After, 2013

It's a beautiful thing, time. It helps you separate yourself from whatever may have clouded your judgement at one point or another, remove self-doubt, or help you see your own work more clearly.

As I'm sure happens with many artists, my perspective on what I create changes. Sometimes new work comes easily, flowing from my head and heart and falling meticulously into place. Other times the process is harder, although the end result may still be (subjectively) splendid.

I recently came across a DVD of an evening-length dance concert I created in 2013 titled Ever After (link to an excerpt under photo). It was a breath of fresh air to be reminded of the process behind the finished work, to see the successes, and to acknowledge the moments I now know could have been stronger, or different. As we grow as artists and people, our tastes and frame of reference will change. But having had time to distance myself from my work, I feel rich. Blessed that I am able to do what I love and lucky that I've had years to continue studying, experimenting, training, growing and playing alongside dancers willing to dedicate their time and talent.

The message? If you are doing what you love, keep moving forward. Embrace and accept the challenges and roadblocks; they are what will make you stronger. Go easy on yourself when you make mistakes. As dancers, it's easy to get swept into a cycle of striving for perfection and feeling as though we never quite live up to it, but IT'S OK to stop and let yourself feel good for work well done.
Yes, there are things I'd do differently now. But if I could go back, no, I wouldn't change a thing. On occasion, I look back at my younger self and say "Good for you, grasshopper. Now just keep going."

So keep going, friends.
Stephanie Wonchala
Pulse Artistic Director/Choreographer

PULSE Dance Co. Seeks Treasurer

Hello friends, fans, acquaintances and supporters of the arts,

PULSE Dance Company is currently searching for a motivated, accounting-minded individual to wear the strapping title of Treasurer.

As we boldly jet into our third season - leaving standing ovations and packed houses in our wake - we need someone as determined to make big, beautiful things happen in performance art as we are.

Please share with anyone who may be ideal for or interested in this position. Details on the company, as well as past and upcoming events can be found at www.pulsedancecompany.com.

Viva la danse!
Stephanie Wonchala
Company Director
pulsedancecompany@gmail.com

Dance Day Getaway!

Spring has sprung and PULSE Dance Company brings you our annual Dance Day Getaway yet again!

DDG is a refuge for movers and shakers designed to challenge, train, and relax the body in a rejuvenating movement retreat. Pulse Dance Company members and accomplished guest instructors unite to provide the Anchorage community with a reinvigorating, day-long dance escape.

DDG boasts a smorgasbord of classes to choose from, tailored to suit every level dancer. Too good to be true? $75 registration also includes chair massage opportunities, a healthy lunch, bottled water, and your very own Pulse Dance Company t-shirt.

When: Saturday, March 17th, 10:30 a.m. - 5:30 p.m.

Where: Fairview Community Rec Center @ 1121 E. 10th Avenue

Registration: $75

($15 to drop in for one class)

Call (907) 301-3208 or email pulsedancecompany@gmail.com now to reserve your spot in this Spring Break splurge! You will leave transformed!


DANCE DAY GETAWAY SCHEDULE:
(two course offerings per time slot; arrive early to craft your own schedule!)

10:15 - 10:55           Walk-In registration & chair massage opportunities
11:00 - 12:00           Yoga  or  Pilates
12:05 - 1:05             Beginning Ballet  or  Improv
1:05 - 1:40               Lunch & chair massage oportunities
1:45 - 2:45               Cunningham  or  Hip-Hop
2:50 - 3:50               Belly Dance  or  Broadway Dance
3:55 - 4:55               Ballet Fusion  or  Pan-African
5:00 - 5:30               Chair massage opportunities



CLASS DESCRIPTORS:
(in offering order)

Find Your Flow, Find Freedom: A vinyasa flow style yoga class connecting breath with movement. Focuses on postures and expressions to breathe supple, malleable life into the spine. Be prepared to let go of control, color outside the lines and find freedom in flow. Led by dancer and Laughing Lotus instructor Marta Buist.

Pilates: Pilates is a holistic form of exercise and postural therapy that emphasizes the development of deep abdominal, or “core,” muscles. You'll work to flatten the stomach, shape and tone the entire body, and provide support for the spine. Led by Ana Kokaurova of Studio One Pilates.

Beginning/Intermediate Ballet: This class will expand beyond the basic fundamentals into brief, rhythmic and flowing combinations to help dancers move efficiently and apply natural coordination to their movements. Instructed by Alice Bassler Sullivan of DanceArts Alaska, the founding artistic director of Alaska Dance Theatre and current director of Eagle River Ballet.

Improv Improvement: A guided escape into your imagination coaxing concepts into movement. Ease into this course with a body-awakening warm-up, light partner interaction, and movement opportunites loaded with choreographic tools. Instructed by Stephanie Wonchala, PULSE Dance Co. founder and artistic director.

Cunningham Technique: This class focuses on the spine in its relation to the legs and challenges a dancer’s ability to change direction within the body and space. Dancers will move through combinations of turns, adagios and phrases across the floor. Instructed by Walter Barillas, PULSE Dance Co. associate artistic director.

Beginning Hip-Hop: It's all about getting your groove on and showing off some attitude. This class blends different styles of hip-hop in an upbeat atmosphere to funky pop music. It’s meant to help everyone let go of their worries and have some fun! Led by choreographer Michelle Wilkins, professional company member with Underground Dance Company.

4 Secrets of Belly Dance for the American Dancer: This class focuses on what 16 years of research and personal experience have taught instructor Melissa Wanamaker of Barefoot Muse Productions are the four greatest stumbling blocks for trained dancers in interpreting this supple, serpentine style. Build or boost your belly dance foundation here.

Broadway Dance: Step into the spotlight with great moves and music! This class is for the dancer and musical theater lover in us all. Led by beloved local instructor Kristen Vierthaler, you'll delight in a theatrical, provocative approach to performing that incorporates the pep and pizzaz of Broadway dance numbers.

Ballet Fusion: This class melds the grounded ideas of modern dance with the lifted grace of ballet. Integrating contraction and release with proper ballet technique and alignment, this course offering is ideal for the well-rounded dancer. Led by Corbin Frazier, PULSE Dance Company member and danseur.

Pan-African: Learn Pan-African movements, relating collectively to the nations of Africa. This open-level class is accompanied by live drumming and includes warm-ups, specific dance steps and Pan-African dance combinations. Taught by Johnnie Wright III, Our Hands Together master dancer and choreographer.

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.

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.