Updates and reflections from Wesleyan's Center for the Arts in Middletown, Connecticut
Performed on February 23, 2015, in the Olin Library lobby, A Body in a Library is part of A Body in Places, dancer/choreographer Eiko Otake’s first solo project, incorporating both performative and non-performative elements, and including the photography exhibition A Body in Fukushima. Images by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.
An artist talk at CFA Hall with dancer/choreographer Eiko Otake and photographer William Johnston about their collaboration for the exhibition A Body in Fukushima was followed by a walking tour of the exhibition at the Ezra and Cecile Zilkha Gallery, Davison Art Center, and College of East Asian Studies Gallery at Mansfield Freeman Center, with a reception in each location, on Thursday, February 5, 2015. Images by Sandy Aldieri of Perceptions Photography. Click here to view the entire album on flickr .
CFA Arts Administration Intern Chloe Jones ’15 talks to graduate student Maho Ishiguro about the Connecticut premiere of “Tari Aceh! (Dance Aceh!)” Music and Dance from Northern Sumatra, taking place on Friday, February 27, 2015 at 8pm in Crowell Concert Hall.
After many months of planning and overseas communication, the Center for the Arts is delighted to welcome to campus a group of nine female performers from Aceh, Indonesia on their first-ever tour of the United States.
Between the ages of 14 and 24, these young women study dance at Syiah Kuala University in Banda Aceh, the capital of the Aceh province on the western Indonesian island of Sumatra. The dances they practice were originally performed only by men, and in some districts of Indonesia it remains forbidden for women to perform them.
At Wesleyan, the group will be making their Connecticut premiere as part of the fifteenth annual Breaking Ground Dance Series as well as Muslim Women’s Voices at Wesleyan.
The dances to be performed have been passed down from generation to generation, and contain a great deal of history and tradition. Accompanied by percussion, the performers add to each dance’s striking musicality with their own rhythmic body percussion, and the singing of both Islamic liturgical and folk texts. These dances are some of the best illustrations of the transcultural blending of Islamic and Indonesian culture.
It has been ten years since a devastating tsunami hit Aceh, killing 200,000 people. The performance of Tari Aceh! celebrates the resilience of the people of Aceh, and a new generation of young women whose performance of these traditional dances are contributing to the recovery efforts in this part of the world.
To learn more about the performing arts in Banda Aceh, click here to watch a video that Wesleyan ethnomusicology graduate student Maho Ishiguro put together while visiting Syiah Kuala University last year. She traveled there after receiving a Fulbright Hays Doctoral Dissertation Research Abroad Fellowship to study the female Saman dance in Indonesia.
While in Banda Aceh, Ms. Ishiguro had the chance to interview all of the dancers. You can get to know some of them here.
Ms. Ishiguro will join Ari Palawi, the Program Coordinator at the Syiah Kuala University’s Center for the Arts, to give a pre-performance talk on Friday, February 27, 2015 at 7:15pm in Crowell Concert Hall.
On Thursday, February 26, 2015 the dancers will lead a free dance workshop, open to all experience levels, at 6:30pm in Fayerweather Beckham Hall. Click here to watch a video for a taste of what you might learn in the workshop.
Ms. Ishiguro told me a little about Saman dance, and the dancers of the Syiah Kuala troupe:
“Saman dance (also known as rateb meuseukat and ratoh duek) is one of the dance forms popularly practiced in Aceh province, the northern tip of Sumatra Island, Indonesia. A number of dancers sit in a row and perform elaborative and fast movements with their hands, heads, and torsos. The dance is highly coordinated, and its complex choreography includes clapping and hitting the body with the hands, resulting in percussive sounds that add to the performance. Dancers also sing while dancing. Texts of songs entail commentaries about nature, love, relationships, politics, and society, as well as religious teachings of Islam. Islamic phrases such as la ilaha illallah (“There is no god but God,” a testimony of Islamic faith) and assalamulaikum (“Peace be upon you”) are often interwoven within the song texts. The origin of the dance form is unknown; however, it is generally understood that Saman dance was practiced historically as dhikr, a religious exercise which Muslims, especially those of Sufi traditions, employ to feel the presence and remembrance of Allah. In Aceh today, Saman dance is a proud cultural heritage. Both female and male dancers practice the form, though separately.”
“In the past decade, Saman dance has become highly popularized in Indonesia, as well as internationally, for its unique choreography and the feeling of camaraderie that the dance generates among the dancers. Most high schools in Jakarta have Saman dance teams as an afterschool extracurricular activity. Furthermore, many regional and national competitions are held, and the winning teams are sometimes sent abroad for a tour. Today, Saman dance is not only a cultural expression of Aceh; the dance has transgressed the ethnic and regional boundaries among Indonesians, as it is practiced widely by those who do not share ethnic or cultural heritages with the Acehnese. In recent years, the dance seems to be on its way towards becoming a cultural expression not just for the Acehnese but for all Indonesians. There have been a number of Saman dance groups formed by Indonesian students abroad. In such cases, Saman dance is performed as an Indonesian cultural expression. In fact, Wesleyan has had a group of students, comprised of both Indonesians and non-Indonesians, who participated in Saman dance practice on campus over the last several years.”
“The University of Syiah Kuala is one of the largest universities in Banda Aceh, the capital city of Aceh Province. The dancers of the Syiah Kuala troupe have studied several forms of Acehnese dance since their childhood. The troupe has performed domestically and internationally. As part of the Muslim Women’s Voices at Wesleyan program, the dancers will be in residency at Wesleyan for several days, hosting workshops and engaging in other activities with students and the Wesleyan community. One of the most exciting aspects of hosting this troupe is that the dancers are relatively close in age with our students. We hope that Wesleyan students and dancers will engage with each other at a personal level, deepening cultural understanding through informal and meaningful interactions.”
Panel Discussion: Expressing and Contesting Indonesia-Islam Encounters in Performing Arts – Dance and Music in Aceh
Wednesday, February 25, 2015 at 4:15pm
CFA Hall
FREE!
Workshop: Dance from Northern Sumatra
Thursday, February 26, 2015 at 6:30pm
Fayerweather Beckham Hall
FREE!
Tari Aceh! Music and Dance from Northern Sumatra
Connecticut Premiere
Friday, February 27, 2015 at 8pm
Crowell Concert Hall
$22 general public; $19 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students
Pre-performance talk by Wesleyan graduate student Maho Ishiguro and Ari Palawi, Program Coordinator, Syiah Kuala University’s Center for the Arts, at 7:15pm.
CFA Arts Administration Intern and DanceLink Fellow Chloe Jones ’15 talks to dancer Lucy M. May of Compagnie Marie Chouinard about their upcoming performances at Wesleyan on Friday, February 6 and Saturday, February 7, 2015 at 8pm.
I close the heavy door softly behind me and cautiously step forward into the dark theater. On stage a woman rehearses a solo. She is tall and slender and dances with startling grace. Her long limbs slice through the space, she stops suddenly, pirouettes. With each movement she communicates something—her whole body speaking, from her gesturing hands to her quick feet. She is fierce and beautiful, every cell of her body alive and articulate.
I have come to Hanover, New Hampshire as a Wesleyan DanceLink Fellow to see Montréal’s Compagnie Marie Chouinard perform, and I have just walked into dress rehearsal. When the dance finishes, the lights come up in the theater and the company members gather on stage. They go over a few notes with the rehearsal director before heading back to their hotel to prepare for the night’s show. I can hardly wait for them to take the stage again.
Described by The New York Times as “a hurricane of unbridled imaginativeness,” Compagnie Marie Chouinard was founded by choreographer Marie Chouinard in 1990. Today the company tours all over the world.
The company first came to Wesleyan in September 2008 to perform the United States premiere of Orpheus and Eurydice. This weekend, they return to campus with the New England premiere of Gymnopédies (2013) and the Connecticut premiere of Henri Michaux: Mouvements (2005-2011).
Set to music by French composer and pianist Érik Satie, Gymnopédies began as an exploration of the duet form. “She knew she wanted to work with these erotic duets between two dancers,” says company member Lucy M. May. “That was really the first thing we did in the studio: improvise two-by-two, different couples.”
In the process of creating the work, Ms. Chouinard decided she wanted each dancer to learn Mr. Satie’s Gymnopédies and play it on the piano as part of the performance. Many of the dancers had never played the piano, but gradually, with lessons and practice, they all learned. In the finished work, the dancers take turns at the piano bench, their live music adding to the work’s curious sensuality.
Henri Michaux: Mouvements began in 1980 when Ms. Chouinard came upon the book Mouvements (1951) by Belgian writer and artist Henri Michaux (1899-1984). Inspired by the book’s abstract ink drawings and 15-page poem, Ms. Chouinard decided to use it as a choreographic score.
“She brought all of the images into the studio,” says Ms. May. “We had photo copies of all the drawings, and some of them were hanging on clotheslines and others were in big piles of paper all around the place, and we spent a really intensive two weeks making all sorts of different compositions. We were exploring all the possibilities of what we were seeing.”
This literal translation of image into movement is augmented by costumes and set. Clothed head-to-toe in black, the dancers perform on a white floor against a white backdrop so that the stage becomes the book.
Mouvements was one of the works I saw performed at Dartmouth this past September. I was blown away. The dancers’ ability to recreate the ink drawings with their bodies is truly amazing—a dazzling exactitude.
“There’s a balance between a high level of demand—of precision and detail and rigor—and then this amazing amount of freedom,” says Ms. May of Ms. Chouinard’s work.
Indeed Ms. Chouinard’s choreography strikes me as simultaneously precise and reckless, raw, free. The dancers move with extreme clarity—so much of the choreography impossibly intricate, detailed, and fast—yet there is something of abandon in their performance, something intensely wild.
As I watched the performance that evening at Dartmouth, I was riveted by each dancer, each movement, each moment. My eyes did not drift once from the stage. My mind never wandered. I found myself fully immersed in the world of each dance.
They are strange worlds, exciting and new and daring.
Compagnie Marie Chouinard
Friday, February 6 and Saturday, February 7, 2015 at 8pm
CFA Theater
$25 general public; $22 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students
Pre-performance talk by DanceLink Fellow Chloe Jones ’15 on Friday, February 6, 2015 at 7:30pm in CFA Hall.
Dine/Dance/Discover on Saturday, February 7, 2015 at 5:30pm in Fayerweather Dance and Theater Studios—add $15 to your regular ticket price. Click here to purchase Dine/Dance/Discover online.
In the Ezra and Cecile Zilkha Gallery from January 29 to March 1, Studio Art faculty members Jeffrey Schiff and Sasha Rudensky curate Picture/Thing, an exhibition featuring the work of ten artists working at the intersection of photography and sculpture.
Connecticut Public Television (CPTV) premieres the original documentary Creative Stages, hosted by Ed Wierzbicki, on Friday, November 28, 2014 at 8pm. This half-hour special is devoted to the arts, as Mr. Wierzbicki takes viewers “inside the creative process” while interviewing Connecticut artists and exploring local arts organizations, including Wesleyan University’s Center for the Arts.
Hear from Pamela Tatge, Director of the Center for the Arts, as well as from visiting artists including Margaret Jenkins (Artistic Director of San Francisco’s Margaret Jenkins Dance Company), Anna Snow, Kerry Andrew, and Sarah Dacey of London’s Juice Vocal Ensemble, and Juliana Romano ’04 (featured in the exhibition The Alumni Show II in the Ezra and Cecila Zilkha Gallery), about the importance of this creative space to Wesleyan University and its students, as well as to the art world at large. The segment also includes footage of Liz Lerman Dance Exchange’s Ferocious Beauty: Genome, the Wesleyan Theater Department production of The Seagull, and a co-taught course by Professor of History and East Asian Studies William Johnston and Visiting Artist in Dance and the College of East Asian Studies Eiko Otake.
The program will also feature Javier Colon, the Yale University Art Gallery and artist Red Grooms, Waterbury’s Palace Theater and the Waterbury Arts Magnet School, and the Haven String Quartet at New Haven’s Lyric Hall.
The premiere of To Not Forget Crimea: Uncertain Quiet of Indigenous Crimean Tatars, by Associate Professor of Dance Katja Kolcio in response to recent political changes in Crimea, was performed on Friday, October 24, 2014, at Memorial Chapel. Images from the warmup by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.
A panel discussion exploring indigenous Ukrainian perspectives of Crimea post Russian-invasion took place on Friday, October 24, 2014, at Fayerweather Beckham Hall. Images by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.
Acclaimed dancer Malavika Sarukkai presented the New England premiere of Rasamanjari, a celebration of the classical dance language of India, as the conclusion of the 38th annual Navaratri Festival. Photos from the Sunday, September 28, 2014, performance at Crowell Concert Hall. Images by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.
“In its emotional nakedness, free-associative logic, and frank sensuality, the work of the Israeli-born couple Lee Sher and Saar Harari is inventive and arresting” (The New Yorker). The New England premiere of LeeSaar The Company’s Princess Crocodile was performed on Friday, September 19, 2014, in the CFA Theater. Images from dress rehearsal by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.
