Dance NOW! Miami. Strings of Goodbye. Choreography by Diego Salterini. Dancers: Jenny Hegarty and Luke Stockton.
Photo by Jenny Abreu.
What is dance? There are many perspectives. It is a big topic of discussion in this day and time. Traditional, contemporary, lyrical, tap, So You Think You Can Dance is huge. Dance branches into jazz, hip-hop, street dance, gymnastic and the new modern styles of dance seem to encompass everything. The foundation is still usually ballet for most styles and even the most contemporary companies warm up and train in ballet. Hubbard Street Dance Chicago takes a ballet class on a daily basis and Netherlands Dance Theater at least three times a week.
As with anything, the stronger the technical foundation, the more potential, possibilities, and prospects there are to incubate what is in the conceptive mind of the creator. Dancers become a facile tool; the more facile, the more thoughtful, the more exploration can be done. Dancers never stop training. It is a daily and lifetime commitment of a continuous honing process — so rehearsal alone will not allow one to stay “at the top of their game.” It is the daily rigors of curiosity, exploration and the use of technique that become what is known as dance.
A dance sampling allows the audience to taste, or sample, the variety of dance and dance related projects that are available to the Miami community. In reading the description of the attending companies of The Daniel Lewis Dance Sampler on Saturday, Oct. 17, each company stayed true to what their mission and goals are as evidenced in their performance. This doesn’t necessarily connect to an encompassing performance for the audience, but it does reflect an honest and true experience for the participating dancer/artists. Occasionally, the experience is complete and moving for both the dancers and the audience and there is a magical moment — one that is transcending, unexplainable and soulful — which is why we, as audience members, want to see more from a particular company and to know more about why and how to be immersed in this art form called "dance."
Whole Project Brigid Baker.
Credit photographer - Karime Arabia.
There were three pieces during the performance on Saturday evening that were transcendent — each in a different way: Dance Now! Miami, the host organization, presented Strings of Goodbye choreographed by co-director, Diego Salterini, in 2007. With a path of light on the floor, the focused and determined Jenny Hegarty partnered by Luke Stockton (looking toned and agile) engaged the audience to see and believe both mental and physical pathways that she was striving for. The sinewy lifts, repetitions and level changes, showed both dancers to be articulate and effortless in their fluid partnering. What is notable and always appreciated is the inclusion of technique and the clarity of line — and the ability to knowingly throw them away.
Another fun and energetic piece on the sampler program was Asuka, performed by the New World Dance Ensemble (NWDE), headed by Mary Lisa Burns, Dean of Dance at New World School of the Arts. Choreographed by Eduardo Vilaro, director of Ballet Hispanico in New York and former founder of Luna Negra Dance in Chicago, Asuka is a predictable piece of Latin flavored party dances with couples, vibrant colors, breakout groups and atmosphere to romping lyrics by Celia Cruz. The NWDE is a mix of outstanding current students and paid professional New World graduates. A mix of professional and student dancers shows an equal committed to their work and, with more maturity, will be even more explosive in their excellent delivery.
Brigid Baker has lovely dancers who move lyrically and easily. In Wonderlawn, choreographed by Baker, the dancers seem to be a flock of birds sailing through the sky with that ever fleeting individual that wanders. On this second viewing of Wonderlawn, by WholeProject Brigid Baker, the piece seems to offer a whisper of a thought — no yelling or demands. Simply, an easy persuasion that gently compels us to want more.
New World Dance Ensemble.
Credit photographer - Karime Arabia.
As a fan of flamenco dance, Siempre Flamenco is always a pleasure to watch. The train of the skirt may have taken over the essence of the total dance in this particular traditional flamenco dance in the Solea style. It was a relief when the skirt was ultimately picked up and the elegant footwork and upper body carriage was revealed. However, Celia Fonta is a veteran who can easily accommodate and transform even with constraints of a costume.
The other presentations on the program were true to their cause, if not as impactful. Hattie Mae Williams — The Tattooed Ballerina — offered a social commentary work stating “wrong” may be just right. Atma YogaDance delivered a pensive and peaceful experience that had a resemblance to Sacre du Printemps, which begged the question “are we ever really free?” Momentum Dance Company could have presented a solo with more depth and technical prowess. Brigette Cormier danced a solo as part of her eventual full-length piece, Frack. It will be interesting to see the completed work.
The New World School of the Arts made available the black box stage for these performances, and the Florida Dance Association and Miami Dance Futures made the sampler possible. The entire evening was seamless, well presented and technically smooth. Lovely words were spoken by Hannah Baumgarten, the Co-Artistic Director of Dance Now! Miami, in tribute to Daniel Lewis who founded the Miami Dance Sampler in 1998. Her words endorsed the thought that audience support and participation will enhance the dance growth in Miami.
