DES was established in July 1993 under the auspices of Singapore National Arts Council. It evolved from the immensely successful Yan Choong Lian Dance Troupe. The Ensemble has been a key player in promoting dance in the Singapore. Under the able direction of its founder and artistic director, Mdm Yan Choong Lian, their center has grown to over 700 students to date. The Ensemble aims to nurture young talents through creative and quality dance training and to upgrade the local artistic standard through various arts activities. In addition, it strives to make dance more accessible to students by participating in the National Arts Council’s Arts Education Program.

Dance Ensemble Singapore
United States Premier at the Painted Bride
Friday June 19th, 8pm
Tickets & Info:
http://paintedbride.org/dance-ensemble-singapore-us-premier-2/

Based in Philadelphia, The Xhale Dance Company is under the direction of Michael Susten, who has pulled together dancers and choreographers from all over the city to create his ensemble. Justine Capria, the company’s Artistic Director, and Michael work together to translate real life stories to the stage. The two met their freshman year at the University of the Arts, and have been creating  movements together ever since.  The company’s full name, “Xhale- A World full of Seduction, Passion & Vulnerability” describes exactly what it is. To learn more about Xhale Dance Company visit www.xhaledance.com

To see Xhale Dance Company…
Sunday April 5th
7:00 pm
The Painted Bride Art Center, 230 Vine Street, Phila. Pa
Tickets $15 – www.paintedbride.org or 215.925.9914

Vada, (pronounced vah-duh, an Italian word meaning to go, to move, to work), was founded in 2005 by Moyer and Skettino, who met in 1997 as dance majors at DeSales University in Allentown.  The company focuses on performance and teaching in Philadelphia and the surrounding areas, and recently completed a residency at Marywood University in Scranton, PA.

This will be Vada’s second performance at the Bride, and will include the debut of three new works, as well as featuring two dances that debuted at the 2008 Philadelphia Fringe Festival– the powerful duet Give and Take, and the mixed media work Where I’m Calling From, featuring the photography of Chris Kasari.  Other highlights include live original music by Cory Neale, a Philadelphia musician, and a piece by guest choreographer Francesca Stigliano.

Tickets are $15, and are available at the door or through www.danceboxoffice.com.  Also, in anticipation of the performance, the company will host a master class for area dancers on Saturday, March 28th 1:00-2:30PM at Dance 360 in Willow Grove, PA.

For more about Vada Dance Collective visit www.vadadance.org

Featured on the program is LUNGTA, a new work by Artistic Director, Manfred Fischbeck,  COURAGE by Co-Founder Brigitta Herrmann,  and A SHADOW IN THE AEOLIAN PALACE by guest choreographer, Megan Bridge.

The Tibetan Buddhist prayer flag is called the “Windhorse”, or LUNGTA, after the horse which carries the prayers of the faithful upwards towards the heavens. The Lo Monthang region of Nepal is home to a horse culture that is threatened by the encroaching pressures of the outside world. Fischbeck creates a new work in collaboration with composer Andrea Clearfied, Network for New Music and artist Maureen Drdak, inspired by Tibetan symbolism and art. *Saturday matinee includes Network for New Music, performing the music live for LUNGTA.

Brigitta Herrmann presents Courage, to which she says, “Last summer, Mukhtar Mai’s book “In the Name of Honor” came into my hands.  Reading it, I was deeply touched by her story and by the still ongoing, life threatening circumstances of women in tribal areas of Pakistan. This dance was created to bring attention to her story and her courage, and to energize healing for her and all women who suffer from exploitation and injustice.”

A Shadow in the Aeolian Palace, choreographed by Megan Bridge, is joined in the creation of this work by her long-time collaborator, composer and video artist Peter Price. Although the pair have been making dance and multi-media work together in Philadelphia for close to a decade, this season they’ve newly launched their own company <fidget>. Bridge says “Several years ago the pianist Ben Whitten introduced us to the work of painter Tom Bostelle (1925-2005). At that time Bostelle was still living in his “Aeolian Palace” on the Brandywine creek, and his shadow sculptures still populated the grounds outside his studio. Bostelle’s shadow paintings and sculptures have an inherent theatrical quality, despite their insistence on pure unadorned form that lends itself readily to choreographic exploration. And the mise en scene of the artist’s life in this dilapidated old dance hall in Wyeth country was compelling to us.”

SHADOW and LIGHT

Tickets: (*student/senior price)
Friday, March 13 @ 8pm
$30/$25*
Includes post performance party

Saturday, March 14 @ 2pm
$20/$15*
Includes live music by Network for New Music & post performance Q & A

Saturday, March 14 @ 8pm
$20/$15*

For tickets:
Group Motion: 215-387-9895/Painted Bride: 215-925-2914 or www.paintedbride.org

After firmly planting their roots in Philadelphia this past spring, one of the country’s foremost Asian American dance companies performs their first evening length concert in their new hometown. Kun-Yang Lin / Dancers, renowned for its taut integration of Eastern philosophy and contemporary dance forms, takes the Bride stage this February for the world premier of A-U-M, a moving meditation on self-awareness and communal unity that derives from mystical Hindu tradition. The evening will also include the company’s best known pieces “Emptiness of Snow” and “Chi”, plus the Philadelphia premiere of “Shun-Woa,” by award-winning choreographer, dancer and singer, Janis Brenner.

The group’s first full presentation in Philadelphia fittingly embraces the spirit of brotherly love. “AUM” is an ancient and mystical monosyllable in Hindu tradition that represents inner harmony, as well as its interdependent relationship with universal understanding. It is used at the beginning and end of prayers, as a mantra for meditation, and as an invocation itself. “AUM” is a composite of three distinct sounds and concepts: “A” representing Brahma, the God of creation; “U” representing the deity Vishnu, who ensures preservation or balance; and “M” which represents Shiva, who is not only the Goddess of Dance but also the deity of destruction and renewal. Lin describes the piece itself as “an exploration through sacred sound and movement of an awareness of self and the connection of self with the audience and with a wider, universal community.”

In his other works, Lin draws upon various influences from his native Taiwan, such as calligraphy, martial arts, tai chi and traditional Chinese dance movements. These traditions are filtered through his experience working with the icons of contemporary American dance. When Lin left Taiwan for New York in 1994, he quickly rose to prominence under the direction of The Mary Anthony Dance Theater, Martha Graham, Anna Sokolow, and Jennifer Muller/The Works.  In 2002, he set off on his own, starting Kun-Yang Lin / Dancers with the mission to “draw upon its unique Asian American perspective to create work that transcends cultural boundaries and celebrates the ability of dance to integrate body, mind, and spirit. Just 12 months later, Lin accepted a teaching position in the dance department at Temple, but spent the next five years in constant transit on the Chinatown bus, dividing his attention between two cities.

Then, in April of 2007, Lin and his life partner, Managing director Ken Metzner stumbled upon the vacant warehouse space in South Philadelphia that would become the company’s permanent home. “The Chi Movement Arts Center will be a place where the entire Philadelphia community can experience the art of multicultural creative dance expression,” commented Governor Ed Rendell when the facility opened in April of 2008. Rendell went on to praise Kun-Yang Lin / Dancers for, “their dedication to the creation, development, promotion, performance, and teaching of multicultural dance forms.” Having solidified a new base for nurturing dance at 9^th and Passyunk, the group travels to one of Philly’s most established homes for the medium to perform the fullest elaboration on their own work the city has seen so far.

Kun-Yang Lin (artistic director) is acknowledged as one of Taiwan’s finest choreographers. He has received numerous awards in Taiwan, including the Taipei National Theater’s Modern Dance Award, National Endowment for the Arts Choreography Award, the Domestic Prize from the Taipei International Community Cultural Foundation and the Taiwan Outstanding Artist Award. At the age of 12, Lin organized the first all-male dance troupe to perform in his native village of Hsin Chu, after having spent the previous 7 years directing his three sisters in numerous performances in their shared bedroom. His early training in calligraphy, painting, figure skating and martial arts came to play a significant role in his development as a performer and choreographer.

Since moving to the United States in 1994, Mr. Lin has been widely recognized including, in 2002, by Lisa Jo Sagolla of Back Stage, who selected Mr. Lin as “the year’s most promising choreographer.” Mr. Lin has performed as a principal dancer with Doris Humphrey Repertory Dance Company and the Mary Anthony Dance Theatre, where he also served as Associate Artistic Director. In addition, Lin has performed in the companies of Martha Graham, Anna Sokolow, Jennifer Muller/The Works, Kevin Wynn Collection, Paula Josa-Jones and Janis Brenner & Dancers. He also has collaborated with musicians such as John Zorn, Ranjit Arapurakal and Animus Music Group on improvisation projects.

Mr. Lin’s choreography has been presented throughout the United States as well as in Asia, Southeast Asia, London, Vienna and Mexico. His work has been performed by the Martha Graham Dance Company in Union Square, Dance Compass, Dance Fusion, Blue Muse Dance, Pick of the Crop Dance, Elizabeth Higgins Dance Theater, Moving Arts Project, Janis Brenner & Dancers, Dance Ensemble of Singapore and Ballet Nacional de Mexico, as well as by various universities and high schools, including Beverly Hills High School. In addition, Mr. Lin’s choreography has been made part of the educational curricula required of dance students at both Taiwan National University of the Arts and Dance Ensemble Singapore (DES) Performing Arts Academy.

Highly sought as a teacher, Mr. Lin has led master classes and workshops throughout the U.S., as well as in Asia, Southeast Asia, Mexico and England. In addition, he has been on the faculty of The Yard, Mary Anthony Dance Studio, H.B. Actor’s Studio, The Limon Institute and Peridance International Dance Center.  Mr. Lin has served as resident Guest Artist at Bryn Mawr College and is currently Associate Professor of Dance at Temple University’s Boyer College of Music & Dance in Philadelphia, where he has taught since 2003.

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Kun-Yang Lin/Dancers are: Kun-Yang Lin, Jillian Harris, Kimberly Miller, Jennifer Rose, Olive Prince, Jumatatu Poe, Scott McPheeters, Elrey Belmonti, Eiren Schuman (apprentice) and Helen Hale (apprentice).

On the web at: www.kunyanglin.org for more information.

What: Kun-Yang Lin / Dancers
A-U-M: Moving Reflections on Nature and Humankind
Where: Painted Bride Art Center, 230 Vine Street, Philadelphia
When: Friday and Saturday, February 6 and 7, 8pm
Price: $25 / $12.50 for Bride Members

Ticket Information: Ticket prices vary for all Bride events. Many Bride shows sell out; order tickets in advance 24 hours a day at paintedbride.org or Tuesday – Saturday, 12-6pm at 215.925.9914. Bride members receive 50% off of single tickets. Students and seniors with ID receive a 25% discount. The Bride is located at 230 Vine Street in Old City, Philadelphia.

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A-U-M: Moving Reflections on Nature & Humankind

CHI
A group piece inspired by the ancient art forms of tai chi and calligraphy, Chi, which means breath, energy or life’s source, has become a central element in KYL/D’s outreach initiatives. The New York Times described it as “a buoyant, radiant dance”.
Performers: Jillian Harris (soloist), Jumatatu Poe, Scott McPheeters, Kimberly Miller and Jennifer Ros.
Music: Glen Velez

EMPTINESS OF SNOW
In Zen Buddhism, to arrive at a state of mindful “emptiness” is to know a fullness beyond comprehension…Emptiness of Snow was inspired by the December 2004 tsunami — a shocking manifestation of the unpredictable, unseen forces of nature constantly at work in the universe. Through the complex metaphor of winter — the beautiful innocence of snow; the frigid severity of ice; the brutal spontaneity of a glacier’s collapse — the piece explores the relationship of the world that is seen (the ever-changing world of dimensionality) with the world that is unseen (the never-changing world beyond our mind and senses).
Performers: Jumatatu Poe, Scott McPheeters, Jillian Harris, Olive Prince and Jennifer Rose.
Music: Kenneth Kirschner, Tibetan bell Meditation music

SHUN-WOA (Philadelphia premiere)
Originally created in 1994, this updated, extremely dramatic and visually-stunning solo, was revived/premiered on Kun-Yang Lin for the 2007 “25th  Anniversary Celebration” of Janis Brenner at Danspace Project in NYC. Shun-Woa: Loosely translated from Chinese as “vortex” or “eye of the storm”, Shun-Woa is a metaphor for the solo which deals with both the forces of nature and the forces of personal experience/cultural heritage that shape one’s identity. Mr. Lin is costumed inside a huge golden-bronze-colored “skirt” made of 60 yards of fabric that encompasses nearly the entire stage. As he journeys through the four different sections of the dance, the skirt changes into a myriad of images and usages; volcano, Chinese vase painting, fire, storm, cocoon, etc., making the work both visually riveting and emotionally resonant.
Choreographer: Janis Brenner
Performer: Kun-Yang Lin
Music: Ushio Torikai and Tan Dun

A-U-M (World premiere)
“AUM” is an ancient and mystical monosyllable in Hindu tradition. It is used at the beginning and end of prayers, as a mantra for meditation, and as an invocation itself. “AUM” is a composite of three distinct sounds and concepts: “A” representing Brahma, the God of creation; “U” representing the deity Vishnu, who ensures preservation or balance; and “M” which represents Shiva, who is not only the Goddess of Dance but also the deity of destruction and renewal. The piece is a moving meditation, an exploration through sacred sound and movement of an awareness of self and the connection of self with the audience and with a wider, universal community. Meditation involves gazing inward and struggling with the thinking mind, with sentiment and with memory. One must reveal, accept and embrace the totality of ourselves – including our fears, doubts, restlessness, anger and sensual desires – in order to transcend limits and vulnerabilities. Meditation contributes not only to a tranquil state of mind which permits intuitive insights to arise spontaneously, but also to the fostering of a sense of peace and humanity that are needed in our hectic, modern world.
Choreographer: Kun-Yang Lin
Performers: Scott McPheeters, Kimberly Miller, Jennifer Rose, Olive Prince, Elrey Belmonti, Helen Hale
Music: OM chanting

Photo Credits: Kenneth L. Metzner

Philly’s Own Rodney Mason Honors his Heritage in Acclaimed Hip-Hop Dance Performance Icon in Rennie Harris’ PureMovement Returns to the Philadelphia Stage

His mom told him to break the family curse and leave his South Philly origins behind. Rodney Mason took his mother’s advice. First he joined the Marines and fought in the Gulf War. Later he would appear on television sets across the country as the comical, aristocratic spokesman for Tanqueray Gin (under the pseudonym Tony Sinclair).  His childhood passion for dance and hip-hop launched him into a flourishing artistic career with Rennie Harris’ PureMovement, with whom he has toured the globe.

But this month, Mason returns to Philadelphia to perform My Mother’s Son, a critically acclaimed piece of autobiographical hip-hop dance theater.  In it, Mason shows how far he has travelled and how close he remains to the city his mother told him to transcend.

Mason’s mother desperately wanted him to escape the cycle of drunken depravity that had afflicted the men of his family, so it seems ironic that much of his success has come as the public face of a major hard-liquor producer.  In some ways, Rodney Mason and Tony Sinclair couldn’t be further apart. The front-man of Tanqueray gin speaks with a British accent, conveys an aura of casual elitism, is utterly refined and always at ease.  These aren’t at all the traits of a kid from the South Philly projects who pulled himself up with the grit of his teeth and relentless determination.  But back at home, Tony Sinclair is every bit as popular as Mason.  Out on 52nd street, where his family recently resettled after leaving the Passyunk Projects, people see the debonair dilettante as a source of pride.  “I have gotten the most amazing response, far beyond what I could ever imagine,” Mason comments, “first of all from black people because Tony represents being seen on the highest of stages, on an international scale.”

Recognition on the world stage is one thing that Mason and Sinclair share. Mason tours actively with Rennie Harris’ PureMovement, which was also a great source of pride for his mother.  “For a while she told me to get a real job,” he said.  But she quickly stopped making such requests after seeing Rome and Jewels, Rennie Harris’ renowned urban update of Romeo and Juliet that starred Mason in the leading role. Mason won Bessie and Olivier Awards for that performance.

Shortly after Rome and Jewels, in 2000, Mason’s mother passed away.  “That’s when I thought I really have to take more steps to be want I want to be, to live up to my potential,” Mason remarks.  A year later, he debuted the first incarnation of My Mother’s Son under the title Origins of Man as part of Philadelphia Fringe Festival (2001).  Later versions appeared at the NOW Festival (2004) and Aaron Davis Hall, Harlem (2005). The newest edition comes home to Philadelphia on January 23 and 24 at the Bride.

TICKET INFORMATION: Ticket prices vary for all Bride events. Many Bride shows sell out; order tickets in advance 24 hours a day at paintedbride.org or Tuesday – Saturday, 12-6pm at 215.925.9914. Bride members receive 50% off of single tickets. Students and seniors with ID receive a 25% discount. The Bride is located at 230 Vine Street in Old City, Philadelphia.

RODNEY MASON BIO

Transplanted to Los Angeles, from South Philly, Rodney Mason won the starring role of “Tony Sinclair” for the Tanqueray worldwide campaign beating out the Wayans brothers, and 800 candidates in the US and UK for this sophisticated Black Brit. Rodney has become a celebrated character in commercials, print/editorial, billboards, interstitials and live guest appearances at major events. You can view the on-going campaign at http://www.Tanqueray.com

Rodney has served his country, and is a Gulf War Veteran. His experience defending his country as a Marine has colored his work and his performance message. He is also a theatre and performance artist, utilizing his hip-hop dance skills, his spoken word poetry and rap to create a myriad of unusual and original characters for film, television, commercials, and stand-up comedy appearances. He has worked with the Groundlings and 2nd City in Chicago; toured the world with Rennie Harris PureMovement, a concert dance company out of Philadelphia, and is known for his award-winning role (Lawrence Olivier Award-Best Performance) in ROME & JEWELS. Other stage work includes TOTEM ROAD with the Olive Dance Company, and a stint with the Baltimore Outreach Program in YO BALTIMORE, where he was again, recognized with critical acclaim. His TV appearances include the MTV Vibe awards, hosting Comedy Central, and numerous cable TV interstitials.

His shows, Hollywood Africans and My Mothers Son have gained attention in theatres across America. Mason is currently working on an urban take on Richard III called Tricky Dick. As a song and dance man, his inventiveness springs forth when creating organically with copoeira, martial arts, yoga and hip-hop, all culminating in hip-hop theatre.