Seven Facts for Fall

October 20, 2008

Matt recently shared seven fun facts about himself and then tagged me and six other bloggers to participate. Dancing Perfectly Free usually sticks to the arts, but I suppose this is the blogosphere’s version of icebreakers. Since I’ll be posting several dance reviews and previews for upcoming performances over the next few weeks, thinking of seven interesting facts was actually a fun change of pace. Thanks, Matt! So, without further ado, seven facts for fall:

1. When I was seven I dressed up as Charlie Chaplin for Halloween. Most of my friends were ballerinas or Disney princesses, but at the time, I was more entertained by Chaplin’s silent films than Aladdin. I owe thanks to my dad for introducing me to his work. Seriously, Chaplin is brilliant.

2. I’m addicted to Burt’s Bees lip balm.  I keep one on my desk at work, one in my purse, one on my night stand, and one in my coat pocket.  Really.  I’m lost without Burt.

3. I had a concussion in 6th grade gym class when a boy three times my size was running around and slammed into me, causing me to crash into a wall and then fall and hit my head on the wooden gym floor. The next thing I remember is being examined by the school nurse, who decided that I needed to be taken right to a neurologist. I argued that I was fine and could just walk home after school, which is pretty funny considering that my left eye was fluttering uncontrollably and I couldn’t even walk in a straight line. Luckily there was no neurological damage, but my eye continued twitching uncontrollably for about two weeks.  P.S. I’m still friendly with the boy who knocked me over.

4. My undergraduate thesis investigated the connection between the development of Cuban ballet and the cultural policies of Fidel Castro after the 1959 revolution. I focused on the support that the Ballet Nacional de Cuba received from the revolutionary government due to Alicia Alonso’s (director of the BNC) alliance with Castro and revolutionary ideology. Honestly, my thesis and I had a serious love/hate relationship.  I spent months watching video clips and poring over old Cuban newspapers on microfilm in a windowless room in the back of one of Columbia’s libraries. Needless to say, I was elated when I completed the project and turned in my paper – all 40 pages of it, in Spanish. Maybe one of these days I’ll get around to translating it into English since my parents tell me they want to read it…

5. My most memorable performance was George Balanchine’s Serenade at The Jillana School summer program in New Mexico, 2002. We performed at an outdoor theater, and just as the piece began, the skies opened up and there was a massive rainstorm. I could barely hear the live accompaniment over the booming thunder, but it was such a thrill. Serenade has never felt so dramatic.

6. I ended up on the boys’ recreational soccer team almost every year as a kid. No matter how clearly my parents checked the “female” box on the registration form and wrote “Evan is a girl” in bold letters at the top of the page, I still ended up on the boys’ team.  Mix-up’s due to my gender-neutral name will probably never end…Last week I approached a press agent to pick up my tickets and she asked, “Are you here in place of Evan or will he be joining you?”  Grrr.

7. I’ve been a vegetarian since 16 and I love to cook. I rarely follow recipes, preferring to just improvise and throw in what I think will taste good (cumin and ginger make frequent appearances in my dishes). Since I work near Union Square, I usually stop by the farmers’ market after work. If you haven’t been, go! Right now the market is overflowing with apples, pumpkins, leafy greens, and tons of winter squash. And hey, you might just see the carrot man. Also, this New Yorker cartoon by Alex Gregory mocking vegetarians makes me laugh.

So, now I get to tag seven bloggers to participate. You’re it!

Emily

Deborah

Counter critic

Evan

Aubrey

Jill

Dara

The Society, photo by Knut Bry, March 2008

In Jo Strømgren’s The Society, presented by PS 122 this week at the intimate Abrons Arts Center, three Frenchman don’t just drink coffee. They worship it. Their ritualistic routine – cleaning cups and saucers, grinding beans, inhaling the aroma of freshly brewed coffee, savoring each sip, and comparing different roasts – is undoubtedly fueled by caffeine-induced jitteriness, but it also parodies French mannerisms and European coffee culture. The worshipping comes to a dramatic halt when the three comrades discover a used teabag in a table drawer. Accusations fly and ridiculous torture ensues in the form of electrocution and burning from a heat lamp – all to discover who the traitor is. Things take a turn for the worse when the men notice red chopsticks “mingling” with their cups and saucers, followed by a host of symbols that suggest a Chinese cultural infiltration. This is no longer a battle between coffee beans and tea leaves. The Society is Strømgren’s examination of extreme ethnocentrism, brilliantly conveyed by utilizing every thinkable Asian and European stereotype. Nonsensical language plays a critical role here, emphasizing inflection and linguistic stereotypes of different regions. With such effective gibberish, The Society can be performed anywhere because it simply avoids the issue of language barriers. The program even states, “For all audiences: the performers do not even know themselves what is being said on stage. So please do not panic” (I don’t think anyone did).

The Society, photo by Knut Bry, March 2008

Dance interludes that are scattered throughout the piece serve mainly as humorous portrayals of the men’s more refined European selves. As one of the performers explains, “Dancing is the European way of showing feelings”. Suits, ties, and shoes limit their movement in the first few dances, but the men shed their clothing as the Chinese infiltration intensifies, allowing them to more freely and easily express anxiety and fear. The performers stay in character as they dance – moving rather clumsily or frantically – without appearing to be skilled or technically strong, although I think they are. The dancing could have been more thoroughly integrated into the theatrics, and it would have been interesting to see dance convey the deeper theme of culture clash rather than serving as comic relief. Nevertheless, Strømgren’s inventive combination of physical theatre and nonsensical language, for which he is known, is remarkably successful.

The Society is absurd, clever, humorous, and tragic. A world in which coffee and tea drinkers cannot peacefully coexist is scary, but even scarier are the implications this has for the world at large. If beverage conflicts lead to torture, what else will?

Performances continue tonight at 8:30 PM and Sunday at 6:30 PM. Ticket discounts are available by using code FF15 for $15 single tickets, or code FF241 for $10 tickets when you buy two or more online. Or mention your code by phone at 212-352-3101.

The Society, photo by Knut Bry, March 2008

On Wednesday, the NY Times City Room blog featured this post about arts education in NYC schools. Although there were more arts offerings last year than the year before, arts education made up an even smaller portion of schools’ budgets.

The Department of Education’s annual report on arts in schools focuses mainly on numbers – the percentage of schools that offer programs in the arts by discipline, the number of full-time certified arts teachers in schools, the percentage of students in high school who participate in elective arts courses, etc – while rarely accounting for quality of arts programming. Assessing quality is certainly more challenging than assessing quantity, but it’s a critical step for understanding what changes need to be implemented in order to improve and expand arts education.

The report does mention the importance of professional development to ensure quality arts teachers, but what about evaluating both content and structure of programs offered in music, theater, dance, and visual art? And how about surveying students to better understand which programs are most effective? (The semester-long dance class offered at my high school was a cross between an aerobic workout and cheerleading – even students without any dance background agreed on this). All of this falls under the category of “Next Steps” in the report, and it looks like a “quality rubric” is being field-tested by NYU’s Institute for Education and Social Policy. Let’s hope that it’s an effective tool that will be fully implemented soon.

Jo Strømgren Kompani in The Society, photo by Knut Bry

Starting tomorrow, PS 122 presents Jo Strømgren Kompani (JSK) in The Society, a full-length work about a society of sworn coffee drinkers who discover and question the significance of a used teabag. Last June I saw Strømgren’s thrilling Sunday, Again, created for and performed by Cedar Lake Contemporary Ballet, but this is JSK’s first appearance in New York City. The Norway-based company produces contemporary dance and theater, and Strømgren is known for his candid, in-your-face approach to performance. His note to all audiences: Don’t panic, the performers do not even know what is being said on stage.

Tickets are $25, but thanks to Norway.org, you can receive a discount by entering one of the following codes. Use code FF15 for $15 single tickets, or code FF241 for $10 tickets when you buy two or more. Click here and follow the link to purchase online, or mention your code by phone at 212-352-3101.

Jo Strømgren Kompani’s The Society

October 15-19, Wednesday-Saturday 8:30 PM, Sunday 6:30 PM

Abrons Arts Center, 466 Grand Street, between Willett and Pitt Streets

The Bill T. Jones/Arnie Zane Dance Company is looking for both dancers and non-dancers for an upcoming workshop and outdoor performance at Columbia University on October 18, 2008. This sounds like a fantastic opportunity, and it’s great when dance companies encourage people without any dance background to be part of a performance. So if you’re available for all of the rehearsals, check it out! The information is below, and don’t forget to RSVP.

Bill T. Jones – photo by Mark Seliger

Company seeks ninety community participants (dancers and non-dancers) to collaborate and perform in a new, site-specific workshop entitled 100 Migrations. Participants must be available for ALL rehearsal and performance times in order to participate in the project.

Rehearsal at John Jay Lounge, Columbia University
Thursday, October 16, 2008
4:30-9:30pm

Rehearsal at Low Library Rotunda, Columbia University
Friday, October 17, 2008
5:30-9:30pm

Rehearsal at Low Plaza, Columbia University
Saturday, October 18, 2008
10:30am-2:00pm

Outdoor Performance at Low Plaza
Saturday, October 18, 2008

3:30-4:30pm

In order to participate you must RSVP to this evite and be available for ALL rehearsal and performance times in order to participate in this project.

If you have any questions, please contact Daisy Nam at 212-854-7633 or daisy.nam (at) columbia (dot) edu

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