BalletX celebrates female choreographers

July 28th, 2008

BalletX celebrates female choreographers

By Ellen Dunkel
For The Inquirer

Girls and women dominate ballet classes. Yet nearly all the positions of power in the dance world - choreographers and company directors - are filled by men.

This is true in other female-oriented pursuits as well. Cooking and fashion come to mind. But ballet is so seeped in estrogen - with its pink satin and tulle, princes and fairies - that it’s even more curious.

With that in mind, BalletX decided to devote its summer season to female choreographers. Yet even though a woman, Christine Cox, is one of the company’s directors (Matthew Neenan is the other), it proved difficult to fill the bill. Read more…

Philly dance scene gets an Asian influence

June 19th, 2008

Philly dance scene gets an Asian influence

By Merilyn Jackson

For The Inquirer
In recent decades, the Chinese and Taiwanese have entered the world of modern dance in a big way, twinning Eastern theatrical disciplines with Western innovations.

Yet in Philadelphia, despite its large Asian population, both modern and traditional Asian dance have been underrepresented. The city has needed something permanent as an anchor, a physical space where dancers interested in Asian techniques and fusion forms can explore freely.

Enter Kun-Yang Lin - theatrical visionary, sensational choreographer and compelling performer - who on April 26 opened Chi Movement Arts Center in a converted warehouse deep in South Philadelphia, a few doors south of Pat’s Steaks. His company, Kun-Yang Lin/Dancers, will perform there Saturday. Read More …

‘Carnival’ merriment

June 11th, 2008

Philly.com
‘Carnival’ merriment

By Ellen Dunkel

For The Inquirer
In December, Pennsylvania Ballet debuted its splendidly refurbished Nutcracker. Six months later, it has staged the local premiere of another ballet that, while much shorter than the holiday classic, is equally whimsical.

The delightfully witty Carnival of the Animals, first performed Friday night at the Academy of Music, was choreographed by Christopher Wheeldon (who choreographed Swan Lake for the Pennsylvania Ballet in 2004) and set to a story written by actor John Lithgow. Lithgow appeared on stage to narrate the first three performances. READ MORE …

Local Non- Profit Dance Company mounts powerful production uniting Bucks County and Kenya communities

June 7th, 2008

Spirit in Motion Ballet Theater announces

“Dances of Hope & Madeline”

A performance to help build a water well in Kenya and awareness here at home.

The Pennsylvania School for the Performing Arts, home to non-profit dance company Spirit in Motion Ballet Theater of Wrightstown, will be premiering “Dances of Hope & Madeline” in matinee performances on June 14th & 15th at 2:30 pm at the Library Auditorium of Bucks County Community College.

SIMBT has been performing in the community for over a decade. Previous productions include serious examinations of social importance such as Remember the Children (about the children of the Holocaust and the triumph of the human spirit) and Through the Looking Glass (about the effect of violence in our society and media on our children), in addition to lighthearted shows including Peter Pan and Newsies. SIMBT has helped many local non-profits, including The Salvation Army of Langhorne, Phila.Children’s Hospital, and the Bucks County Housing Project.

“Dances of Hope & Madeline” embraces both of these concepts. The performance will help to raise funds for a life giving water well in Kenya.

Powerful and deeply affecting, “Dances of Hope” will focus on the need to help the less fortunate as close as Bucks County and as far as Kenya. “Madeline” is the playful and uplifting tale of a very small girl capable of great big things!

Artistic Director and founder Terri Garcia-Lee, of SIMBT/PSPA, has always provided a pre-professional training environment that inspires students to use dance as a form of expression and to improve the world around them. Her students range in age from 3 to 17 and study the arts of dance, acting and singing. This year, she embraces the mission of Kristen Scott, a dancer with the American Repertory Ballet.

Ms. Scott spent seven weeks living in Kenya last summer, working with orphans and people affected by HIV. She says “because the crisis in Africa is so intense, progress won’t be made (on things like the AIDS epidemic, providing clean water, etc.) until a great number of people get involved in doing something about it. We are a nation of abundance, and I believe in sharing what we have with those less fortunate.” Come Unity is the result of her experience. A non-profit organization, Come Unity assists dance organizations like SIMBT in raising funds for a water well in Kenya. This life giving well will provide clean water to be used for washing, cleaning, cooking and drinking.

SIMBT/PSPA will donate money raised from all concessions and a bake sale to Come Unity. Items for sale have been provided by the families of SIMBT.

Dances of Hope & Madeline on Saturday June 14th & Sunday June 15th at 2:30 at Bucks County Community College. Tickets on sale now at: www.simbt.org : Adults :$22 Child /Seniors/Military: $19 more information about Summer Musical Theater Programs & Spirit In Motion and The Pennsylvania School of The Performing Arts, please visit: www.simbt.org or call 215.598.8513 .

Kristen Scott
It began in the spring of 2007. I started dreaming about spending my summer break with AIDS orphans in Kenya. I approached my fellow dancers with an idea. The cost of the volunteer program, the travel and my desire to bring extra funds to give to the people I met in Kenya exceeded my small dancer budget. So, we started planning. The other dancers were more than willing to help. They choreographed, danced, baked cookies, hung lights, contacted
the media, set up http://www.freewebs.com/comeunity/kenya%20076.jpg chairs and got everyone else around excited about what we were doing. In the end we raised nearly $6000. The program cost nothing to produce so all the profit could go towards the cause.

I took the money with me to Kenya and as I found my way into a culture so very far away from our own I was overwhelmed with where to start helping. Even small children who don’t know English say as I passed by on the street, “Sponsor me!” Some of the children in communities I visited in Kenya had literally never seen a white person. Kenyans didn’t have a poor perception of Americans or foreigners, but generally foreigners are well received under the assumption that they are probably there to help. Nearly everyday someone told me about their life and how they needed help. Their stories were heartbreaking, but I almost grew numb listening to them because I didn’t know what to do. It was overwhelming. I wish I could have helped them all. Most days in Kenya I could keep in the front of my mind that I was there to do what I could. I could help those I was able to, and I could pray for the rest. Most days I held it together. Some days I did not. I went to visit Brian Irungu’s home. Brian was our student at school and one
of the happiest boys I think I ever met. He smiled constantly and was one of the few regularly dangling from my arms throughout the school day, desperate for love and attention. His mom welcomed us into their home, proud to have some ‘muzungus’ (or white people) there for a visit. Inside there was nothing but a mound of laundry on the floor. That is where they slept. As we left my breaking heart couldn’t be contained anymore and tears just poured from my eyes at the condition of this family and so many others just like them.

The money we raised bought mattresses for Brian Irungu’s family. We paid teacher’s salaries for three months, bought firewood to cook food at the orphanage, purchased backpacks for kids who carried plastic bags to school, we took sick kids to the hospital and repaid debt to some farmers who fed the orphans even when there wasn’t money to buy food. I saw the look in their eyes as I offered them what we had to give them. Susan from the HIV test clinic at the orphanage wrote me this: “The most important achievement in life is not the wealth or status we attain but the number of people whose lives we touch- whose self esteem we have enhanced. THANK YOU for doing that to me. God bless your friends and you mightily.”

My visit to Kenya was extremely impacting, and I gained an understanding about how hard nations of people have it there. Poverty is a
http://www.freewebs.com/comeunity/Copy%20of%20images%5b15%5d.jpg way of life.
AIDS is everywhere, corruption breaks down good on every level of life. I feel like I left the kids behind in such dire situations, and I want to continue to do all I can do help them. They aren’t just unknowns to feel sorry for anymore, they are friends and real children with names. Mary
Wangari, Brian Irungu, Christopher Mutua. Things won’t begin to change in Africa until a great number of people get involved.

In the US, we are a people who can have almost anything we want. Did you know that 25% of the world’s wealthy goes to 75% of the people, and 75% of the world’s wealth goes to 25% of the people. We have the ability to do so much for them. We are a nation of great abundance, and I really believe that we what we have been given was meant to be shared. Let’s get committed to giving everyone an ample opportunity for self-sustaining life! What better way to help someone else than through the gifts and abilities we’ve been given?

Here’s a few more facts about Africa:

- More than 300 million people in Africa (nearly half it’s
population) live on less than $1 USD a day.

- 6,300 people die everyday in Africa of AIDS and there are 12
million children who have lost a parent to AIDS.

- Africa is home of 34 of the world’s 49 poorest countries.

- Nearly 80% of the diseases in developing countries are related to
poor unsafe drinking water.

- In the past 10 years diarrhea has killed more children worldwide
then all the people lost in armed conflict since WWII, due to poor drinking
water and unsanitary conditions..

In this day in age children should not be dying of diarrhea. We have the ability to give them clean water by building a well. Education is an answer to the grip that poverty has on millions of people. We have the ability to help give them education by building schools and paying teachers and providing a meal. Children should not be going hungry. You would be surprised how little it costs to feed many many children a day, we have the resources to do so. This is important! Your group can help make a difference.

Two communities changed

The thing I love most about the COME UNITY concept is that two communities are revolutionized. The communities in Africa receive some basic staples they need for survival. They benefit from the funds we raise; they receive food, firewood, mattresses, backpacks, medicine, a monthly salary, etc. But our communities in the USA are changed as well. As Westerners we can easily be self-focused, driven and motivated people interested in climbing the corporate ladder or having the white picket fence. We often overlook the needs of those less fortunate. And therefore, don’t take action in doing anything about it. Our community was bonded together in the process of doing something together to help someone else. Dancers endeavored to use other talents and passions (baking, organizing, speaking skills, etc) to see
COME UNITY be successful. The audience was educated about the current struggles of Kenya and walked away from a really cool dance performance inspired to get involved and do something about it. It felt really great to do something for someone else, and that is something priceless.

A quote from Jena Lee’s “Hope in the Darkness” says it all.

“‘We know that Americans pity Africans,’ he told me. ‘But sometimes I think Africans pity Americans.’ “How so?’ I asked him. ‘Americans seem to expect that everything will be provided for them. For us,’ he said, ‘this ear of corn is a gift from God. This evening rain is a shower of mercy upon us. This healthy breath is life giving. And maybe tomorrow we will not have such things, but our hearts are so full from God’s provision.”

http://www.simbt.org/
simbt is a 501-c3 org

Terri Lee - Director
Spirit in Motion Ballet Theater
The Pa. School of the Performing Arts
2324 Second Street Pike
Wrightstown, Pa.18940

Philadanco

May 21st, 2008
washingtonpost.com
Monday, May 19, 2008; Page C12

Philadanco

Don’t envy Philadanco. For almost four decades, this Philadelphia-based company of mostly African American dancers has willingly worked in the shadows of the Alvin Ailey troupe, sharing choreographers and cross-training dancers. Friday night at Strathmore, Philadanco excelled when the choreography diverged from ethnically tinged ballets, hallmarks of both companies, and instead played to the 12 dancers’ athletic prowess.

The evening opened with “In Between Time,” a 2007 commission from Zane A. Booker set to the music of Chuck Mangione. Read more…

Senegal, Japan fused into dance

May 4th, 2008

Senegal, Japan fused into dance

By Merilyn Jackson

For The Inquirer
Japanese-born Kota Yamazaki started his dance company, Fluid hug-hug, not long after moving to New York in 2002. Last year, he won a Bessie Award with Germaine Acogny for choreographing FAGAALA on Compagnie Jant-Bi, which Acogny directs in Senegal.

Interested in researching Butoh, a post-World War II performance art, Acogny visited Japan in 2000, met Butoh-master Yamazaki, and invited him to work with her. He visited three times, teaching her dancers Butoh techniques and immersing himself in Senegalese dance traditions.

Rise:Rose, which also resulted from that research, received its Philadelphia premiere Friday and Saturday at the Painted Bride. Yamazaki danced with Michou Szabo and Mina Nishimura to make a short but engrossing evening of fusion dance fathered by the often grotesque and mysterious Butoh, but mothered by traditional and ancient African steps. Read more…

In master’s footsteps, in step with the times

May 2nd, 2008

In master’s footsteps, in step with the times

By Ellen Dunkel

For The Inquirer
Alvin Ailey American Dance Theater is celebrating its 50th anniversary this year, and the dancers were in full celebration mode Friday night at the Academy of Music, the 16th stop on a nationwide tour.

They rocked the house.

Headed by artistic director and Philadelphia native Judith Jamison, Ailey is about as accessible as modern dance gets. But in case anyone needed help deciphering the dance, the program listed a phone number one could call during intermission for more information about several of the pieces. Read More…

Missteps and moxie

April 24th, 2008
Things went a bit rocky for Rock School at the olympics of dance, but dancers hauled in two medals and major scholarships.

By Ellen Dunkel

For The Inquirer
NEW YORK - There were nerves, slips, wardrobe malfunctions, and two major falls. In the end, the 20 students from the Rock School for Dance Education won only two medals at the Youth America Grand Prix finals last weekend - which for the Rock meant a slow year.

But one of them was gold. Read more …

Local Dance Group Performs Ballet Focused On Darfur Crisis

April 23rd, 2008

Local Dance Group Performs Ballet Focused On Darfur Crisis
by KYW’s Karin Phillips

A South Philadelphia-based dance company is performing what it’s calling the first ever American ballet on the crisis in Darfur.

The Rebecca Davis Dance Company has a history of taking literature and history to the stage through the use of contemporary ballet. But Davis says this ballet — Darfur, designed to reveal the human suffering in a 21st century conflict — is different: Read more…

At the Bride, a fruitful union of troupes

April 22nd, 2008

At the Bride, a fruitful union of troupes

By Merilyn Jackson

For The Inquirer
At the Painted Bride last weekend, we got only 20 minutes of evidence of things (un)said, an excerpt from Charles O. Anderson’s work in development that is slated to be premiered by his dance theatre X next year.

The Bride’s stage was too small to hold this rib-thumping, heart-pumping, cry-mercy-Mama dance. A section with six female dancers was too crowded to look cleanly executed, although most of them danced full out. I hope to see it on a larger stage like the Perelman when it is finished.

The other half of the show was a work by Bessie Award-winner Kota Yamazaki called In-Ou, which he mounted on Anderson and three of his stellar dancers. This more intimate, partly Butoh-based piece worked well in the Bride’s black box space. Read more…