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Posts about Dance

Lincoln Center gig a first for Ragamala

Posted by: Claude Peck Updated: August 5, 2014 - 11:44 AM

Aparna Ramaswamy rehearsed "Song of the Jasmine" in Minneapolis in May, 2014. Star Tribune photo by Elizabeth Flores.

Ragamala Dance gives the New York premiere of its "Song of the Jasmine" at a Lincoln Center Out of Doors performance Thursday night.

The work, incorporaing Ragamala's south Indian dance vocabulary with music by jazz saxophonist and composer Rudresh Mahanthappa, was premiered in Minneapolis in May. It was a commission of Walker Art Center.

Showtime Thursday is 7:30 p.m., at the Damrosch Park bandshell. Admission is free. Ragmala Dance co-founders Ranee and Aparna Ramaswamy give a free talk at 6:30 p.m. Wednesday at the Asia Society.

Ranee Ramaswamy, Rudresh Mahanthappa and Aparna Ramaswamy. Star Tribune photo by Elizabeth Flores.

Cheers at the White House

Posted by: Rohan Preston Updated: July 30, 2014 - 12:39 PM

Twin Cities artists and arts leaders were on hand Monday at the White House to cheer on Bill T. Jones, who was presented with the National Medal for the Arts by President Obama.

A multiple Tony-winning choreographer, dancer, director and company founder, Jones has a decades-long association with artists and arts institutions in the Twin Cities, especially Walker Art Center, under whose aegis he has developed, premiered and performed many works. He also directed "Dream on Monkey Mountain" at the Guthrie Theater.

On Monday, Walker director Olga Viso (left) posed with honoree Jones alongside Ranee Ramaswamy and Aparna Ramaswamy, who are, respectively, founder and principal dancer of Ragamala Dance Theater.

President Obama appointed both Viso and Ranee Ramaswamy (who supplied the image), to the National Council on the Arts. The Senate confirmed them in 2013.

Jones was one of 11 luminary winners of the arts medal, among the nation's highest honors for artists. The winner's roster included writers Julia Alvarez and Maxine Hong Kingston, musical theater composer John Kander, musician Linda Ronstadt and pioneering documentary filmmaker Albert Maysles.

Patrick Scully's Walt Whitman show premieres

Posted by: Claude Peck Updated: July 11, 2014 - 1:06 PM

Patrick Scully poses as poet Walt Whitman. Star Tribune photo by Jeff Wheeler.

POST BY CAROLINE PALMER, SPECIAL TO THE STAR TRIBUNE

Sometimes the best way to learn about an artist is through the perspective of another artist. With  “Leaves of Grass – Uncut” Patrick Scully summons  the radical spirit of 19th-century poet Walt Whitman. Over the course of the show, which had its first performance Thursday night as part of the Fresh Ink Series at the Illusion Theater, we learn that the two men have much in common when it comes to defying rules and embracing life.

Scully assumes the role of Whitman, talking through his life story, railing against the puritan morals of his day, lauding the love of other men, extolling his contemporaries (Ralph Waldo Emerson, Oscar Wilde) and reading excerpts from his works. Whitman, as portrayed by Scully, is a confident man who explains how he would code his language to escape the wrath of a rabidly homophobic society. Despite these efforts, Whitman’s works were banned and critics were quick to denounce him with their harshest words, which is hard to imagine today given the significant influence and great beauty of his writing.

But Whitman was undeterred by these obstacles, which explains why he is such a hero to Scully, a proud rabble-rouser himself. With “Leaves of Grass – Uncut” Scully creates an onstage world that Whitman would have appreciated. Seventeen men dance together in tender, sensual and playful moments. In the opening scene they strip down entirely to bathe, setting the tone for an evening about relationships between men and how society has sought to deny them.

The movement itself is based in contact improvisation, which emphasizes the intuitive give and take of dancing with another person. Scully’s company members take great care to support and inspire one another. Kevin Kortan makes an appearance as Whitman’s lover Peter Doyle and in one of the work’s more poignant moments they discuss the poet’s refusal to use the pronoun “he” (instead using “she”) in his writing to describe their passionate relationship. Scully shows us that Whitman wasn’t always so bold.

The Fresh Ink series provides opportunities for artists to try out new ideas. Scully still has some work to do with tightening up the production – there are a couple of false endings – but it is a heartfelt salute to Whitman. Without this daring poet’s soaring words and his willingness to take risks in a hostile era, we may never know what it means to “sing the body electric.” Scully is the perfect caretaker for Whitman’s legacy.

“Leaves of Grass – Uncut” continues through Sunday, July 13 (8 p.m. Fri.-Sat., 7 p.m. Sun). Illusion Theatre, Cowles Center, eighth floor, 528 Hennepin Av. S., Mpls. $14-$19, 612-339-4944 or illusiontheater.org.

Dancing through a mansion

Posted by: Claude Peck Updated: June 25, 2014 - 4:18 PM
The performers of "KOM HIT!" gather near the end of the piece for an ensemble scene in the Turnblad mansion's small top-floor theater. Photo provided by American Swedish Institute.
 
A young woman, barefoot and wearing all white, invokes the spirit of Sweden's literary hero August Strindberg, then opens the heavy wooden doors of the Turnblad mansion on Park Avenue in Minneapolis to begin "KOM HIT!" In the hour that follows, audience members (no more than 35 will be allowed at each performance) poke their heads into nearly all of the mansion's 33 rooms, where they witness snippets of modern dance, mime, music and a small amount of narration. Don't expect to learn much about Strindberg, as the dance-theater piece is "loosely inspired by," and not directly drawn from his life and obsessions.

While immersive, site-specific dance-theater has been popular in New York and elsewhere for several years, as evidenced by such long-running shows as "Sleep No More" by Punchdrunk Theater, it is more rarely seen in the Twin Cities.

In "KOM HIT!" Audience members, who are encouraged to wear stick-on moustaches a la Strindberg, may wander freely from room to room, up staircases and into hallways. You may be invited into a room for a solo performance by a singer playing electric guitar, or witness a thrashing dancer in a "mad scene" through the window of a what looks like a walk-in closet.

Here a woman gazes at her reflection in a mirror, there a teenaged girl plays electric bass with an angel-wing-wearing guy on the accordion. Feathers drop into the foyer from above. A sad creature writhes alone on a bare wood floor.

The troupe numbers more than 14 performers, but co-creators Sally Rousse and Noah Bremer are showcased in certain "episodes," including a group scene in the American Swedish Institute's top floor that involves posing for photographs and passing through a large picture frame. Well-known Ballet of the Dolls dancer Stephanie Fellner gets a lot to do, and does it well. In the end, however, the piece is more about mood and movement, perhaps the ephemeral nature of souls and old houses, than it is a coherent narrative.

See "KOM HIT!" at 6 and 7:30 p.m. on June 26 and July 1, 3, 8 and 10. $20, 612-871-43907, or go here.

Dancers in a room that also has a visual art exhibit on view. Photo by Claude Peck.

The performances are timed to the opening of a terrific small photo show in the new wing at ASI. Turns out old August S. was both a fashion hound and a fan of selfies (well before the term came into vogue, and almost at the dawn of photography itself). The photos of Strindberg come from Fotografiska, Sweden's preeminent photo museum.

 
 
Strindberg
 
"KOM HIT!" dancer on the rooftop of the new wing of the American Swedish Institute.
 
Dancer on the mansion's second floor.
 
Below, trailer for "KOM HIT"

In a city of 'endless dance,' artists debate their future

Posted by: Tim Campbell Updated: June 20, 2014 - 10:56 AM

The Powerpoint slide in Cecily Sommers' much-debated keynote Thursday at Dance/USA located "innovation" at the intersection of art and science. (photo by Caroline Palmer)

By Caroline Palmer

The Dance/USA conference continued Thursday at the Cowles Center with statistics, futurism, workshops and showcases. Executive director Amy Fitterer kicked off the morning plenary by reporting the conference data: 31 states represented, over 400 attendees, 50 volunteers from the Minnesota dance community, 50 scholarship recipients and performances by 30 local artists. “There’s endless dance in this city,” she said.

Ben Cameron of the Doris Duke Charitable Foundation in New York went so far as to call the Twin Cities among the greatest in the world for arts and arts philanthropy. He spent several years here as senior program manager for the Dayton-Hudson Foundation and manager of community relations for Target stores.

Cecily Sommers provoked some strong reactions to her keynote presentation. After recounting her personal journey from professional dancer to chiropractor and now global trends analyst, Sommers urged the conference attendees to “step out into something you’ve never done before” and to “get super-curious about what’s happening in the world” in order to adapt to the fast-changing world. Sommers used examples from the technology and science boom (the advent of 3-D printers and genetically modified organisms) as well as corporate and entrepreneurial business models that use unexpected approaches to draw attention.

But as local choreographer Chris Schlichting pointed out during the question and answer session, Sommers’ message also hewed to a capitalist model where the end goal of risk-taking is making money, which is rarely true of the dance world. For most artists (and especially in cash-poor dance), innovation is borne out of the ability to do so much with so little. Meaningful funding is welcome but cannot be taken for granted so artists are constantly working on creative ways to keep their efforts alive that extend beyond a paycheck. Art for art’s sake still matters. And while some business models have relevance in arts management they are not an automatic or even a comfortable fit. This is a longstanding tension in the arts world and Sommers hit upon this particularly sensitive nerve during her keynote.

After her presentation the lobby was abuzz with discussion on everything from the challenges artists face when required to adopt ill-fitting business models by funders or boards to questions about why the future Sommers described wasn’t racially diverse or cognizant of the social justice downsides that can accompany innovation (genetically modified foods, for example, that are often sent to poor countries in famine with little knowledge of the health effects). The tension between short-term solutions versus long-term consequences kept people talking.

The day’s agenda was filled with a variety of workshops focused on the nuts and bolts of arts administration, leading into night-time showcases featuring repertory excerpts from Twin Cities dance companies and independent choreographers including TU Dance, Hijack and Ragamala Dance. In addition, Katherine and Robert Goodale, dance patrons for whom the Cowles Center’s main stage is named, were honored with the Champion Award. And just as the day began, it ended with numbers, this time courtesy of Cowles Center executive director Lynn Von Eschen, who reported that since the new facility opened in 2011 some 60 companies with a total of 500 dancers have performed there for more than 100,000 audience members.

The conference continues through Saturday with workshops at Northrop Auditorium plus more performance showcases around the city and at the Cowles.

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