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Vital Signs


Gallim Glows

Physical expression, humor, intensity—Gallim Dance takes these facets of performance way past the bounds of what’s comfortable or expected, with engrossing results. The company brings director Andrea Miller’s hilarious Pupil Suite and Mama Call, which draws inspiration from Miller’s Sephardic-American roots, to Wesleyan University Center for the Arts Feb. 8–9 and Temecula, CA, March 22–23. Sit, Kneel, Stand, with its star turn for “25 to Watch” Jonathan Royse Windham, will be performed at Georgia State University on Feb. 16. www.gallimdance.com.

 

Miller’s Pupil Suite. Photo by Franziska Strauss, Courtesy Wesleyan.

 

 

Set Design Swagger

Crashing waves, starry skies, and laser shows will hit the REDCAT stage on Feb. 14–16 as Japanese dancer/ choreographer Hiroaki Umeda aims to dazzle viewers with both technological effects and his choreography, a mix of hip-hop, ballet, and butoh. Umeda, who plans these effects on his laptop, will also take the two works, Haptic and Holistic Strata, to the Wexner Center in Columbus, OH, Canadian Stage in Toronto, and New York Live Arts. www.hiroakiumeda.com.

 

Umeda’s Holistic Strata. Photo courtesy Yamaguchi Center for Arts and Media.

 

 

Pure Power

Bursting with energy, the New Zealand–based Black Grace embarks on a two-month North American tour. Making its Portland debut at White Bird on Feb. 19, the company performs a smattering of works including the full-length Waka. Packing power into skilled manipulations of the body, these dancers, led by artistic director Neil Ieremia, can be seen in Seattle; Pittsburgh; Saint Paul; Victoria, Canada; and Northridge, CA. www.blackgrace.co.nz.

 

Carl Tolentino and Thomas Fonua. Photo by Duncan Cole, Courtesy White Bird.

 

 

Rhythm and Soul

Performances, master classes, and other special events abound in San Francisco and Oakland this month as the 2013 Black Choreographers Festival marks its ninth year. Bay Area–based dancemakers Gregory Dawson, Raissa Simpson, and Colette Eloi, among others, will present work along with notable out-of-towners such as Camille A. Brown. A celebration of the 40th anniversary of Oakland’s Dimensions Dance Theater stands out among the two weeks of festival activities. www.bcfhereandnow.com.

 

Co-director of the Black Choreographers Festival Laura E. Ellis. Photo by Andy Mogg, Courtesy BCF.

 

 

Hamburg on Tour

The Hamburg Ballet brings John Neumeier’s sweeping dramatics to Orange County, Chicago, and San Francisco this month with two programs. The Little Mermaid swims into the Segerstrom Center of the Arts Feb. 8–10, while Nijinsky, which reimagines the ballet superstar’s career with the Ballets Russes, will be danced at the Harris Theater Feb. 1–2 and the War Memorial Opera House Feb. 13–19. www.hamburgballett.de.

 

Alexandre Riabko in The Little Mermaid. Photo by Holger Badekow, Courtesy HB.

 

 

Spare Change

Whether you think of Anna Halprin’s Parades and Changes as revolutionary, ritualistic, or raunchy, most viewers are riveted by the slow-motion undressing and dressing section—as well as the wanton ripping-huge-reams-of-paper scene. For Halprin’s “final” setting of this iconic 1960s work, dancers from around the world are coming to Berkeley to participate. Leading this parade of dancer/(re)searchers will be the original collaborators: Halprin herself (see “Nine Who Dared,” Nov.) and composer Morton Subotnick. Feb. 15–17, UC Berkeley Art Museum, with an exhibit of related artifacts on view in Gallery 1. www.bampfa.berkeley.edu.

 

A performance of Parades and Changes in 1970 in Stockholm. Photo by Ohlstrom, Courtesy BAMPFA.

 

 

Song and Dance

As the capital of country music, Nashville is bursting with tuneful talent—a situation just begging for collaboration. Nashville Ballet has put singer/songwriter Matthew Perryman Jones, known for his heartfelt pop-country lyricism, with choreographer Gina Patterson to work on a premiere. Also appearing on the program are Dominic Walsh’s lively The Whistling and Sarah Slipper’s passionate Ploughing the Dark, inspired by the love letters of Anton Chekhov and his wife, Olga Knipper. Feb. 15–17. www.nashvilleballet.com.

 

Jon Upleger and Sadie Bo Harris in Slipper’s Ploughing the Dark. Photo by Marianne Leach, Courtesy NB.

 

 

Contributors: Kathleen Dalton, Wendy Perron, Kina Poon

 

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