Australian Dance Party (ADP) calls itself a site-specific company these days, and its most recent work, LESS, is an exceptional example of how this approach to the company’s productions plays out. Created and performed as part of Canberra’s annual Enlighten Festival and the 2022 BOLD Festival, LESS took place in and around a sculpture created by a Chilean-based architectural practice, Pezo von Ellrichshausen. The sculpture, named LESS, graces a space in the Dairy Road Precinct, an area devoted to mixed and emerging businesses. It is a structure of 36 towering concrete columns and a circular ramp leading to a viewing platform. In front of it is a water feature, which consists of large rectangular ponds of shallow water.
While official descriptions of the sculpture say it is ‘intentionally monotonous’, it might also be seen as looking back to the brutalist architecture that characterises many of Canberra’s best known public buildings. ADP’s use of the site for LESS, the dance work, was something of a remarkable adventure for the audience. Some were seated on the ramp, others dangled their feet in the water while sitting on chairs positioned in one of the watery rectangles.
LESS the dance work begins just as the light of the day is beginning to fade. The movement starts in the watery ponds in front the sculpture, and the dancers, joined by a saxophonist (John Mackey) and a vocalist (Liam Budge), make their way towards the sculpture. Their movement is slow and deliberate and focuses on making right angled turns to change direction. It seems to reflect the upright qualities and lack of any sense of curved lines in the 36 columns. Once they reach the water directly in front of the sculpture, however, their imagination lets fly. They twist, bend, stretch and interact with each other, often splashing water in various directions, before making their way onto the sculpture itself. As the natural light fades away completely, the truly remarkable lighting design by Ove Mcleod takes over.
As the dancers transition from the water onto the sculpture their movement often becomes quite structured. Sometimes it reflects the upright nature of the columns. Sometimes it uses the columns as complete or partial hiding places. Sometimes it ignores that structural quality and becomes quite free and adventurous. And, in a remarkable manner, Mcleod’s lighting design allows what is happening on the floor of the sculpture to be reflected in the water giving a strange sensation of no beginning or no end to the dance.
The performers wore costumes by Aislinn King in colours of white and grey, although this colour scheme, like that of the concrete pillars, changed under the effects of the lighting design. Sound design was by Alex Voorhoeve and, in addition to the sounds of the saxophone, Liam Budge’s vocals, created through a hand-held microphone, were an interesting blend of grunts, moans, shouts, whispers and other assorted sounds that often seemed to reflect the dancers’ movements.
It is a joy to see ADP back in performance mode. The company, directed by Alison Plevey, may have a different approach to dance from many other companies, but LESS was a triumph of collaboration. Every aspect of the production contributed in a theatrical way to give a show that resonates still in my mind. I love being able to think up new ideas about dance and how it relates to us, society, and other art forms. LESS gave me that opportunity.
Ever since I began watching productions by Bangarra Dance Theatre (around three decades ago), the aspect of their shows that I have most admired has always been the way in which a story is told through movement. Of course I have loved the fabulous visual and musical aspects of the productions as well—costumes, sets, lighting and score have all contributed beautifully. But dance prevailed as the strongest force.
With this latest production, made jointly with Sydney Theatre Company, somehow dance didn’t prevail any longer. There was some terrific dancing for sure. It was constantly energetic and came from committed dancers. Two performers stood out in particular: the seemingly ageless Elma Kris as Wudjang (‘mother’ in Yugambeh language but with a wider meaning as spirit of Country in this case), and the relatively new artist Lillian Banks as her contemporary manifestation, Gurai. They built up a powerful relationship over the course of the show. But the strongest element in the show to my mind was the spoken and sung word, at times in English and at others in Yugambeh—the latter being the language spoken in the area that Stephen Page, choreographer of the work, recognises as the Country of his ancestry.
Wudjang—not the past was Page’s last production as artistic director of Bangarra. It began with the discovery, by workmen engaged in excavation for the construction of a dam, of ancestral bones, those of Wudjang. It then followed a journey to honour Wudjang with burial in a traditional resting place. Along the way there were scenes where the past was recollected and the present generation was encouraged to move forward with pride and resilience.
Some scenes were confronting, such as that in which one of the characters, Maren, tells of rape and her determination to make those who rape pay for their violence towards Indigenous women. Other characters expressed anger at the raising of a flag claiming territory for ‘the Royal pigsty’. Others showed Indigenous people as curious about the sheep that were being raised by the colonists.
But words and song dominated and it wasn’t always easy to hear and understand what was happening. The music by Steve Francis was played live on stage with musicians occasionally becoming a close part of the action, especially but not always violinist Veronique Serret. Befitting the confronting elements of the storyline, the music frequently sounded strident, but to my mind unnecessarily loud. Often it drowned out the words so it was not always easy to follow the story, especially when the English was highly idiomatic and the Yugambeh language was not understood by me (and I imagine most of the audience). If words are to prevail they have to be heard, and as far as the sections in Yugambeh language were concerned perhaps surtitles in translation would have helped. The major exception was provided by the singing of Elaine Crombie as Maren. She sang (in English) about resilience and survival after rape and she was just brilliant. Every word was clear and the delivery was powerful and defiant.
As ever, Jennifer Irwin’s costumes were also just brilliant and hugely diverse. They ranged from the beautiful tie-dyed dress worn by Crombie in certain sections, to the intricate clothing worn by Banks and Kris.
Wudjang —not the past ended with hope in the future as the bones discovered in the opening scene were buried in a traditional manner. But ultimately I was disappointed that the work moved between so many theatrical genres. At times it seemed operatic. At others a bit like musical theatre. I longed for dance to be more powerful, or less dominated by words that were not always comprehensible. Translation was available in the printed program but who can read a program in the dark, not to mention in attempting to do so having to miss what was happening onstage.
What is it about Swan Lake? Looking back I have seen productions of this ballet across Australia and around the world. The Australian Ballet has had four different productions in its repertoire for a start—all quite different. Then I can’t leave out the production by the Borovansky Ballet in the 1950s and the two created in New Zealand that I came across while researching my recent book, Kristian Fredrikson. Designer. And I have seen European and English productions as well as some from the United States. Perhaps I’ve seen somewhere between 10 and 15 different productions. Then, just recently I watched A Swan Lake, choreographed by Alexander Ekman. It is 90 or so minutes long. Around the same time I watched Swan Lake Bath Ballet by Corey Baker, which is just over 3 minutes in length. These last two productions are quite unusual takes on the ballet we know as Swan Lake.
Back in 2016 I interviewed Ekman in Sydney for a story about his production of Cacti, which was being brought to Canberra by Sydney Dance Company. I recall the interview, and the rehearsal that I was privileged to watch, very clearly. Ekman was a charming interviewee, willing to open up about his work and full of laughter and jokes. I remember he said:
My work is entertainment. I take my interpretations from life, from the weirdness of what we do. I’m not just a step maker. I think I’m good at making situations.
Well A Swan Lake is certainly full of situations (some quite weird) and is also certainly entertaining in a kind of a way. Made in 2014 for Norwegian National Ballet and filmed that same year, it is in 3 acts, although Act III is VERY short. A Swan Lake is danced to a score by Swedish composer Mikael Karlsson, which in the first act features some occasional musical references to the Tchaikovsky score. In addition to the Norwegian National Ballet dancers, the cast includes children from the Norwegian National Ballet School, some actors and an opera singer.
Act I purports to consider the origins of the apparently ill-fated first production of the ballet in Moscow in 1877, which had choreography by Julius Reisinger. There were, also apparently, difficulties associated with other aspects of the production, including which ballerina would dance the leading role. The craziness that pervades Act I of A Swan Lake suggests the fiasco that many believe characterised the 1877 production. It features, for example, an assortment of people, extraordinarily dressed by Danish fashion designer Henrik Vibskov, constantly coming and going in and out of doors that comprise the set.
Perhaps the most interesting section in Act I, however, takes place between two actors with one (representing Reisinger?) trying to think up a story (eventually coming up with swans) and what steps would suit his choices. His attempts were constantly rejected by a man behind a desk.
I also wondered for a while about the opera singer who kept appearing in Act I and, after reading a little about the people involved in putting the 1877 show together, I discovered that, at the time, the Intendant (Administrator) of the Bolshoi Theatre in Moscow where the first performance was held was married to an opera singer. A situation from history not excluded by Ekman?
Act II (137 years later than Act I we are told) was set in a very watery environment. The stage of the theatre was flooded with water and, as if to show the passing of time, the choreography initially was slow motion as the water continued to fall. As time wore on the dancing made use of the watery environment and was very physical and of today (more or less). There were moments when a flood of rubber duckies fell onto the stage and other moments when Swan Boats transported people across the water, reminding me of the Swan Boats that carry pleasure seekers on a lake in the Public Garden in Boston, Massachusetts. (I was amazed to find that these pleasure boats, which I have to admit to having ridden, date back to 1877).
But the highlight of this act for me was the meeting in the middle of the watery stage of a black swan and a white swan. They wore a tutu skirt, a close fitting helmet-style headdress and a remarkable, almost architecturally designed bodice with an enlarged ‘hump’ at the back. The black swan was engaged at one stage in slapping the white swan hard across the face, while the white swan accepted her fate and simply placed her hands gently on the black swan’s face. Was this Ekman bringing in the theme of good versus evil that is part of the regular Swan Lake. Or did it relate to the apparent problems between ballerinas in relation to the 1877 production?
Act III lasted for about a minute. We were transported forward about 200 years and were treated to a brief dance by a robot with swan wings. Will someone still be making new versions of Swan Lake two centuries hence?
There is no doubt that Ekman’s Swan Lake generates a range of thoughts and ideas. Sometimes it is hilarious, sometimes it is hugely inventive, sometimes it causes many thoughts about history, choreography and repertoire. And it is entertaining in a Ekman kind of way.
But after this experience, as exhilarating (and exhausting) as it was, all I can say is that Swan Lake Ballet Bath was a relaxing, and quite beautiful experience. Created by New Zealander Corey Baker on 27 dancers from companies across the world, it was filmed entirely remotely during lockdown by dancers performing in their home bathtubs and filmed by them using mobile phones. And how impressive is the post production!
Watch below.
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A Swan Lake is available (with subscription) on Marquee TV. Swan Lake Bath Ballet is part of the Sydney Opera House’s UK/AU Digital Stream and was created as part of BBC Arts Culture in Quarantine.
Michelle Potter, 31 January 2022
Featured image: Swan Boats from Act II, A Swan Lake. Photo: Erik Berg
All photos from A Swan Lake by Erik Berg (permission requested and pending)
Evelyn Juers, The Dancer. A biography for Philippa Cullen. (Sydney: Giramondo Publishing, 2021)
ISBN: 9781925818727; 592 pp
RRP $39.95
This book by Evelyn Juers is spectacularly different from any biography I have read before, especially from any dance biography I have yet encountered. It is in essence the story of Philippa Ann Cullen (born Melbourne, Australia 1950; died Kodaikanal, India, 1975), a dancer who performed across the world and whose creative process involved experiments with theremins and movement-sensitive floors. Her work produced movement unlike that of most of her contemporaries, and she was at the forefront of using electronic music as an accompaniment to her work. The book is distinguished by the breadth of its author’s research and her sensitivity to the socio-political background in which Cullen worked. But it is different in two major ways from most biographies with which I am familiar: by the manner in which the author inserts her own voice into the story, and by the author’s writing style.
Before entering into the story of Cullen’s life and career, Juers investigates Cullen’s family history on both her mother’s and father’s side. This is an in depth examination drawing on as many sources as Juers was able to discover. It has its ups and downs as those who have been involved in family history no doubt have discovered. Some material is always elusive, although Juers is able to set up a clear lineage for Cullen.
Once this history has been established, Cullen’s own life takes the stage. Juers gives an insight into Cullen’s education; her dance training in Sydney at the Bodenwieser Dance Studio; her early public performances, including those with the choreographic enterprise Ballet Australia; the beginnings of her own choreography; her developing interest in the theremin and electronic music, and their uses in her creative process; and her studies at Sydney University.
Towards the end of 1972, Cullen, with the aid of a an Australia Council grant, travelled overseas to examine the role and potential of electronics in dance. She visited a host of countries in Europe, including Britain, the Netherlands and Germany as well as Africa and India; and she met and worked with a range of contemporary artists who opened up a variety of new possibilities for her. Cullen returned briefly to Australia in early 1974 and became involved in a series of seminars, workshops, demonstrations and performances before returning to India just a few months later.
But in this book there is a lot more to the Cullen story than her life in dance. Cullen’s emotional life plays a strong role throughout. There are extensive quotes from letters written to and by Cullen. There are extracts from Cullen’s diaries, which she seems to have kept religiously throughout life, and in which she appears to have recorded her dreams. Juers consistently reports on the dreams as the story progresses. Cullen’s personal notes also refer often to her love life and her concerns about pregnancies. She had many lovers and a long affair with composer Karlheinz Stockhausen, whom she met in Australia in 1970.
With regard to the constant appearance of the author’s voice as added commentary, Juers was a friend of Cullen and, in the book’s prologue, she explains how they met and how she continued the friendship after that first meeting. Her comments throughout the book expand and add an extra, personal element to the story. When both she and Cullen were in London at the same time, for example, they used to go on walks together:
That day she was wearing her thick woollen socks with sandals and we talked about wool, a predilection we shared. My mother was a knitter: on round needles she made wide swinging skirts with scalloped hems, she sculpted beanies around ponytails or plaits, topped off with colourful pompoms; when I had whooping cough she knitted me a daffodil yellow cardigan and I got better. Unselfconsciously I’d spent much of my early childhood dressed in wool. In London, as a kind of anchor, I immediately bought myself a second-hand loom and—alongside Herculean university reading lists and writing assignments—spent hours each day weaving. They say wool has memory. Philippa’s grandmother had taught her to darn, and her oldest woollen jumpers made her feel just right.
And there are many similar examples throughout the book. As a result, we meet Cullen not simply as a dancer absorbed in specific areas that were of particular interest to her, but as a forthright, funny, curious person, and ultimately as a human being who lived with an intensity that can only be described as incredibly moving—a life that was both heart-rending in its sorrowful moments but full of joy at other times.
Often, too, the author’s voice questions events or asks that events affecting Cullen’s life be seen within the wider context of the time. This is especially true of the closing section of the book dealing with the medical diagnosis that was offered as an explanation of Cullen’s death. On occasions, Juers also adds comments about her own writing process in relation to the Cullen story. She records at one stage:
I wrote to Jill Purce [one of Stockhausen’s later girlfriends] to ask if she knew Philippa Cullen, explaining that I was writing a book about her, and that I was trying to be as precise as possible about the chronology and circumstances of her association with Stockhausen.
Then follow several paragraphs regarding Purce’s response. Such sections blur the received boundaries of biography/memoir/autobiography.
As for the writing style, it is unique to Juers and at times contains sentences of a single word, or just a few words, or sentences that would in other situations be considered a clause rather than a sentence. Often the style is challenging, but then for many so was Cullen’s approach to dance. ‘I haven’t met anybody who accepts what I do without question,’ Cullen once said.
In her writing Juers also makes references to the ideas and writings of major figures from the literary world, such as James Joyce, Samuel Johnson, the Bronte sisters, and others, which open up further understanding of (or questions about) Cullen’s life and creative approach; and also tell us much about Juers’ own background as an author and reader. More challenges arise for the reader when direct quotes from original source materials are italicised within the text so the published pages regularly skip from Roman fonts to italics and back again, and from ‘I’ to ‘she’ and back again.
I found the book hard going at times, especially in the early family history sections when I wondered, despite my admiration for the depth of Juers’ research, whether the extent of detail that Juers included was absolutely necessary. But I was constantly smitten by various sections as I traversed the story. They included a section on Cullen’s return to Australia from overseas, briefly in the 1970s, when the world that unfolded on the pages of the book was strongly evocative of a dance counter-culture that existed in Sydney (and elsewhere in Australia) at the time. Then there was the dramatic and very moving story of Cullen’s last days in a remote town in India in 1975, when the author’s voice queried the nature of the physical condition that led to Cullen’s death, and when those who had helped her through her last days added their thoughts to the epilogue.
After finishing the book I felt the need to go back and start reading it again when those parts of the book that I initially found not so relevant to the essential story would probably make more sense. In fact I wonder whether I will regret some of this review when I do reread!
My closing thoughts, however, are that The Dancer is extraordinarily dense with information, ideas and challenges but is a remarkable, beautifully researched, forthright book. A bit like the best dance really.
The Graduation season of NZSD is always a spirited one and, despite numerous disruptions to the year, this 2021 program of nine short works is an outstanding testament to resilience and determination, qualities that dancers are noted for. Such things can be infectious, all to the good since the world needs more of both. It’s the elevation—the leaping, the jumping, the flying, the jeté, the sauté, the entrechat, the gravity-defying stuff that I’m talking about (—the things dancers in retirement tell you they miss the most. It’s metaphor. Normal humans don’t jump, they just walk and maybe run, as common sense dictates they should, so younger dancers are needed to keep the elevation going. If you agree, read on. If you don’t, I’m not sure I can help].
The opening piece, a perfect curtain-raiser, is the Waltz from Act I of Swan Lake, from Russell Kerr’s renowned production for RNZB some decades back, remembered for the integrity of its staging. Swan Lake is not just about the dancing, it’s a story-ballet about love and loss, and the price to be paid for a mistake. Fundamentally it’s a ballet about grief. Kerr has always known how to fully harness the dramatic power of full-length ballets in the theatre, something many attempt but few achieve. He is the consummate force, call that kaumatua, of ballet in New Zealand, and is only aged 91 so there’s time for us to appreciate him yet. RNZB will next year bring back his production of Swan Lake. I remember the closing cameo of its final scene, the cumulative effect of all four preceding acts, a product of Kerr’s humanity and humility, and I have lived by it ever since. This excerpt was staged by Turid Revfeim, a legendary alumna of NZSD, who brought her typical sensibility and acumen to create the enthusiasm and atmosphere of a 21 year old’s birthday party for us all to share. There’s a lot can go wrong at a 21st birthday of course (and the full-length ballet follows through with that) but here it’s a huge bouquet of fragrant roses as a gift for a birthday celebration. Who’s going to say No Thanks to that on the night? Salute to Tchaikovsky, Russell Kerr and Turid Revfeim, to every dancer, and to everyone in the audience since we’ve all been invited to the party, so to speak.
Reset Run, by Tabitha Dombrowksi, lists music by Bach, by Kit Reilly, and by Ravel. I am familiar with Dombrowski as a fine and focussed dancer (earlier in the year she was in the cast of Ballet Collective Aotearoa’s memorable season, and also in Loughlan Prior’s stunning Transfigured Night) but I have not hitherto seen her choreography. It proves a revelation. My anticipation is usually on reserve when several musics for a single choreography are involved, since that might mean fragmentation instead of the coherence that a single composition can support. I need not have worried. Lines, patterns, the front view or the back of each dancer, are thoughtfully modulated to balance light and dark. The cast of eight dancers are in black gear, a white stripe down each arm, and a large oval cut out from the back, allowing light from the shadows to shine on skin. The true choreographic strength, maintained throughout, makes each move consequent from the one before it and gives rise to the one that follows. An initial line-up of couples then become a single couple, then become a group. That beautifully built transition transports me back not 24 hours when I’d watched the magnificent and beautiful lunar eclipse in the night sky. No mean feat to evoke that choreography.
The following work could not have made greater contrast. Dust Bunny, a ziggy number choreographed by Matt Roffe, is an excerpt from his full-length work Cotton Tail. In cabaret mode, it urges all rabbits to run from the farmer’s gun. Some escape, but of course some do not. The animal rights issue here is poignant and well played but I did wonder if some kind of mask or head covering would help the animal representation.
Lucy Marinkovich always develops her work from researched and specific themes. Lost + Found offers a meditation on time, and the ephemeral life of a dance. The opening section, effective in silence, captures both linear and circular time. Further sections layer unison and canon in movement, to the piano music of Jonathan Crayford with atmospheric overtones designed by Lucien Johnson. The climax is a wild and wonderful whirling blur after the manner of dervishes, in the timeless invoking for grace to descend from on high. Where does a dance go when it is no longer being performed? That question is echoed in St.Augustine’s words—’What is time then? If nobody asks me, I know; but if I were desirous to explain it to one that should ask me, plainly I do not know.’ A pointed theme for dance… the most ephemeral of performance arts.
Loughlan Prior, an experienced choreographer with a continually expanding career, made Time Weaver, to music by Philip Glass. A couple dances patterns and lines, holding positions with striking shapes of two bodies, rather than communicating an emotionally engaging pas de deux of the conventional order. The dance comes to seem like the slow-motion capture of an exquisite flower opening—lotus, passionfruit, desert cactus, water lily perhaps—such as David Attenborough would be pleased to have commissioned.
Somewhat Physical by Jeremy Beck rocks with comic satire, but has a serious underpinning. A rambunctious rendering of Rossini’s The Thieving Magpie is resisted by the large group of eleven dancers who stand folded over with arms hanging down. Imperceptibly slowly they unfold to an upstanding position. End of music, bows and applause, thanks for nothing. Chairs are brought in and the dancers set themselves up as an audience. What does that make us? Further sections contain music (Vivaldi, Purcell, Mozart) and movement jokes that question the conventional relationships between what’s seen and what’s heard. The last section seems like a scene from the classic film Allegro Ma non Troppo, with dancers assembled as an orchestra of musicians, flinging their arms off, dancing their hearts out, striking their strings and pounding their percussion. Rossini, Vivaldi, Purcell and Mozart would have loved it—well, it’s for sure at least Mozart would have.
The Bach by Michael Parmenter, to the opening chorus of Bach’s Easter Cantata, is here in an excerpt (from the original made for Unitec season in 2002, and also performed by NZSD in 2006—apart from Swan Lake it’s the only work not a premiere on this programme.) Its presence here answers that question about where a dance goes when it’s not being performed. In this case it resides, it hides, within the music, poised and ready to explode as soon as the music begins—’to celebrate the joy of the Resurrection.’ Fifteen dancers fill the stage with that joy, spiritual and/or religious, and deliver all the moves of a masterwork. You’d want to study this dance for the art and craft of choreography at its best.
In complete contrast follows So You’ll Never Have to Wear a Concrete Dressing Gown, by Eliza Sanders. An experimental piece, constructed in motifs from images in poems penned by the participating dancers. There is further self-referencing in that each dancer wears a shirt imprinted with the face of a class-mate, in a potentially interesting theme. The faces are distorted when the hands of the dancers are placed on the shirts which I find a little disconcerting—and I wait for the wearer and the face to connect during the dance, though that does not happen. This is an enigmatic work not wanting to follow obvious conventions.
Nexus, by Shaun James Kelly, to Vivaldi’s Four Seasons, depicts dancers learning and assembling sequences from classical vocabulary, with frequent motifs of sliding and gliding footwork delivered at speed. I see echoes of Lander’s Etudes, which suits the theme of dancers presenting the movement elements of their art form. In that sense it makes a suitable finale to a Graduation program, though it is the vibes of Parmenter’s work that are still hanging in the air as we dash through the rain to the car park. It’s raining—who cares? We’re dancing.
Last time I wrote a book review for this site I was puzzled by the difference between a memoir and an autobiography. Well there is no struggle this time. Leanne Benjamin’s Built for Ballet is clearly an autobiography of a woman who has had an absolutely stellar career as a dancer across continents. It focuses not on one aspect of her life but, going back to where earlier I went searching for definitions, it ‘primarily focuses on facts—the who-what-when-where-why-how of [an author’s] entire timeline.’ We are privy to Benjamin’s dance-focused life from the time she took her first dance lessons, aged three, in Rockhampton, to 2020 when the book was completed. And it is a fascinating account of that life, written in a very conversational tone. It is hard to put the book down once one starts.
I am, however, curious about that conversational tone. While it is lovely to be carried along with the story, I couldn’t help wondering how it was written. Was it partly constructed as a result of oral interviews, with Benjamin’s words translated straight to written form? This would perhaps account for certain grammatical issues that I found a little grating. Speaking isn’t always grammatically correct, especially when agreements between verb and subject, and the use of ‘me’ and ‘I’ as subject or object are concerned. I am perhaps a pedant but I do find certain things annoying and wish that strict copy editing could remain an essential part of book production so that the written word retains its grammatical structure.
Moving on, however, Benjamin is thoroughly honest about her relationships with coaches, directors, other dancers and the like and it is great to read of her approaches to rehearsals, classes, being coached, partners, and performing. Then, one can vicariously feel the exhaustion of the extensive travel that Benjamin undertook both with the companies with which she was involved and as a guest artist around the world. The way Benjamin addresses the various injuries all dancers sustain over the course of a career also arouses a feeling of empathy for the pain and the loss of performances that have to be endured.
I especially enjoyed Benjamin’s discussion of her work with some of the most outstanding choreographers of her time. Her work with Kenneth MacMillan, and later with Wayne McGregor, stand out. What did she gain from being coached by them? And how was she able to pass on what she had gained to younger dancers when she became a coach herself? It’s all there. And yes, her thoughts on Ross Stretton and his time both with the Australian Ballet and the Royal Ballet are featured at one stage.
Benjamin does not gloss over her personal life either. We learn of her various love interests, her marriage and the birth of her son, and the fate of her extended family including her mother-in-law and father-in-law, both of whom had major dance or dance-related careers.
Perhaps one section that I found fascinating, largely because of where I live, concerned the photo that appears on the back cover of the book (although all the photos in the book are interesting and often quite personal). The back cover has a photograph taken in 2006 by Jason Bell at a location outside Alice Springs. It is a spectacular image. A print is in the collection of the National Library of Australia in Canberra and is often used as a publicity shot for anything to do with dance and the National Library. It is etched in my mind as a result. Benjamin discusses the circumstances surrounding the photo shoot.
Sue Healey has been working on her On View series for several years now. I recall with much pleasure seeing (live—it was pre-Covid!) her very arresting program On View. Live Portraits in 2015, and I also recall, again with pleasure, a number of the portraits of Australian dance ‘icons’ she has made over the years. But Healey has worked on a number of occasions in Japan, Hong Kong and other Asian countries and much her work in the On View series has been collated and edited into an hour-long masterly production called On View: Panoramic Suite, which was recently shown as part of Liveworks Festival of Experimental Art.
This digital presentation began in something of a philosophical way with three performers explaining how they perceived the notion of dance portraiture, which was, at least in part, the focus of the production. ‘The dancer as an expert in being seen,’ said Martin del Amo; ‘How do you see a thought in a gesture?’ asked Nalina Wait; and ‘How are we perceived by others in a changing world?’ mused Shona Erskine.
From there the performance crossed every kind of boundary we might have imagined was possible for a dance on film production. It was panoramic not only in the way the footage was collated from so many different places across three distinct areas—Australia, Hong Kong and Japan—but also because it featured 27 different dancers whose ages ranged from 28 to 106; because the footage was presented from so many different angles, including close-up shots, aerial views and everything in between; and because it was presented with such a variety of screen views including multiple views at any one time.
Several sections stood out for me. I found quite fascinating a section that began with percussionist Laurence Pike playing while seated in a square of light. As he played dancers appeared to be falling from a sheet of white material that gradually transformed into a sheet of blue sky. At one stage Pike disappeared from the screen and his place was taken by shadows of performers whose individual shapes kept changing.
A section filmed on Lake George just north of Canberra, which featured dancer James Batchelor, was also particularly eye-catching. We saw Batchelor from an aerial perspective as a solitary figure in a wide, flat, uninhabited landscape, then on multiple screens sometimes with a screen of footage placed next to a screen that was simply a black space. Occasionally, there were close-up shots showing his hands, or his feet engaging with the dirt of the lake floor. It was an interesting reflection and comment on dance and the environment, a concept that was also mentioned by Shona Erskine in the narration at the beginning of the production. This Lake George section also sat in opposition to the section that preceded it when five dancers performed in a tight environment that consisted of nothing more than a small square of light. Not one dancer moved out of the square as they negotiated each other within that confined space.
Still from On View: Panoramic Suite, 2021. Courtesy of Sue Healey
Of the dancers, I found Japanese Butoh artist Nobuyoshi Asai extraordinarily moving. Covered completely in white make-up and wearing only a minimal jock strap-style costume he moved at times as if in a trance, at others like an animal, while at times we saw fury and anger. His performance was intense, potent and physically arresting.
I also enjoyed some moments when Torres Strait Islander dancer, Elma Kris, performed first in a forest of tall, thin tree trunks, and then by the edge of the sea before dancing in the shallows. Again it was partly a reflection of a specific environment.
I have also to acknowledge the entire production/collaborative team for some extraordinary contributions, including Darrin Verhagen for his score and Karen Norris for her lighting. The production was dedicated to the memory of ballerina and esteemed teacher Lucette Aldous who died in June 2021 and who was one of Healey’s Australian dance icons.
Michelle Potter, 30 October 2021
Featured image: Still from On View: Panoramic Suite, 2021. Courtesy of Sue Healey
This digital stream from New York’s Baryshnikov Arts Centre gives such a beautiful look at two dancers, Mats Ek now in his seventies, and Ana Laguna a little younger in her sixties. Both have had stellar dance careers and have worked across the world and in varied areas of dance, including artistic direction. In this inspiring program, however, we meet them in their summer home in northern Sweden, where they spent many months, including wintery months, in isolation to escape the pandemic. They each perform a solo, with both solos choreographed by Ek, and they speak throughout the film with dance writer and critic Jann Parry.
Ek’s solo is called Whilst, or Medans in Swedish, and is danced to music, La gondole lugubre II, by Franz Liszt. It is a solo in the sense that Ek is the sole dancer, but it might also be called a duet for Ek and a chair. Ek enters and sits on a chair, which we have seen in the performing space from the opening moment. His movements are quite simple to begin with and express a certain amount of boredom or frustration associated with being isolated. He looks at his wrist where a watch would usually be, he runs his hands along his limbs, he crosses and uncrosses his legs. Then the chair becomes part of the movement until it is eventually pushed aside and we watch a freer style of movement, fluid and covering a little more space, and always strongly and precisely performed. He makes a brief escape through a door into another room, but returns and ends standing by a window looking out, perhaps wistfully, perhaps hopefully.
Laguna’s solo is called My Letter, or Mitt Brev in Swedish, and is performed to sections of a Cello Suite by J. S Bach. It revolves around the receipt of a letter and we see a variety of emotions from Laguna, shown brilliantly on her body through Ek’s choreography There is anxiety, there is excitement, there is surprise and perhaps confusion, and finally there is huge pleasure as Laguna finishes the solo standing at window with light pouring into the room as she reads the letter. I loved her fast movements of arms and feet, so full of excitement, and the beautifully fluid bends of the upper body as the arms lifted skywards.
But there is surprise for us the audience too. The letter is at first a blank piece of paper and Laguna handles the letter in various ways, including stuffing it into her mouth. There is even a moment when we wonder if Laguna is about to slit her throat with the letter opener she has used earlier in the piece. But she doesn’t and when she puts the letter opener back in a drawer words have mysteriously appeared on the previously blank sheet of paper.
What follows is a discussion led by Parry with contributions from Laguna and picked up towards the end by Ek. I am not always a fan of hearing what choreographers say their work is about. It so often resonates of that (now old fashioned) concept of intentional fallacy. But the Parry/Laguna/Ek conversation was illuminating. Ek as choreographer didn’t try to tell us what My Letter was about, and why the writing appeared at the end, other than to say simply ‘The letter is written by her dance.’ So it makes sense that we see the writing only when the dance is completed. And given the growing number of groups of older dancers we now have the pleasure of seeing quite often, the discussion of dancing with an ageing body was also illuminating with talk about ‘accepting the limits of an ageing body’ and ‘choosing what is possible’. What an amazing pair of artists they are.
Mats Ek + Ana Laguna is available to watch online until 14 October 2021 via the Baryshnikov Arts Centre website. It is so well worth watching
(Please note: Image above is not a link)
Michelle Potter, 8 October 2021
Featured image: Ana Laguna performing in My letter. Photo: Baryshnikov Arts Centre.
Whispers down the lane is part of Dance.Focus, a film commission project from DanceHub SA in partnership with Ausdance ACT and supported by Ausdance SA and Torbreck Vintners. The project has an aim of challenging, resonating and engaging with screen dance. Not a bad idea given that dance on screen has been so prominent in our minds, as a result of the coronavirus pandemic, for well over a year now.
Four choreographers were commissioned to create for the project, two from South Australia and two from the ACT. A finished product from the two ACT choreographers has been delayed as a result of the lockdown situation in Canberra, but the South Australian films, Whispers down the lane from Chloe Moir and (T)here from Cinzia Schincariol are available to watch on the Ausdance ACT website at this link.
While I enjoyed in particular the beautiful landscapes in which (T)here was filmed, it was Whispers down the lane that was, to my mind, the outstanding contribution from a dance point of view. Made on six dancers, it took as a starting point the childhood game of passing on a whisper with the aim of the message remaining unchanged as it passed from one person to the next.
The message or ‘whisper’ in this case is a dance solo lasting about 90 seconds performed by Moir, a dance graduate from the University of South Australia. Although quite short at 90 seconds, Moir’s whisper is relatively complex. It has, for example, changing levels, including some fast turning movements on the floor, and some detailed finger work.
After Moir has delivered her whisper, each dancer enters the performing space (one by one) and re-enacts that whisper. Towards the end we see a film compilation of the six versions of the whisper, and that compilation also includes Moir dancing the original solo. At various stages, each of the six dancers comments on the project, at first how they think it will evolve, and later how they managed the situation.
What was the conclusion? Written on the screen towards the end were the words:
Each repetition inspired new thought, feeling and understanding of the phrase … teaching us that our perspectives and experiences make us different from one another, leaving us to tell a different story.
But it was more than that. What attracted me was the insight it gave to that essential feature of dance—it is made on the human body. While individuality is there always, as the closing words say, does that also mean we can never really replicate what a choreographer sets, especially when restaging a work, and especially if the work is from the past? Whispers down the lane is a beautiful and inspiring film (production Lewis Grant Kennedy) with so many layers to it. An excellent outcome from Dance.Focus.
All photos: Screenshots from the film Whispers Down The Lane by Chloe Moir, a DANCE.FOCUS 2021 commission. Courtesy of Ausdance ACT
Behind the Scenes at the Ballets Russes – Stories from a Silver Age by Michael Meylac [Methuen/Drama]
I am always willing to get down on my hands and knees in Wellington’s Unity Bookshop to search for whatever few titles might be on their Dance shelf, down at floor level below the Music shelves, in case something new has arrived since my last genuflection.
That’s the way I discovered Mark Morris’ memoir, Out Loud, last year, and found much stimulation in his vigorous style of memoir-writing. Various friends have not shared my appreciation of the book, finding its ‘no-holds barred’ expression hard-going, but to me its frankness and honesty were refreshing. ‘Judge me if you dare’ Morris seems to be saying. I do judge him, though rather by the musicality in much of his choreography than by the gossip and intrigue with which he furnishes the book.
He writes profiles of different artists and colleagues that vary in their appeal, but I found much interest and insight in the sustained account of his friendship and working partnership with American composer, Lou Harrison. Harrison had spent a year in New Zealand on a Fulbright fellowship back in the early 1980s and his enthusiasm for gamelan music, indeed for many Asian musics, we all found invigorating. I choreographed to his Solstice, (previously choreographed by Jean Erdman of The Open Eye theatre in New York) so I came to know Lou very well, and caught up with him again on subsequent study visits to America. Morris’ every word about Lou evokes his generosity of spirit, the uncompromising commitment that hallmarked all of his composition work, and his abiding interest in dance as a parallel art. Reading about Lou was like meeting up again with a dear friend after many years.
The Mark Morris Dance Company brought Handel’s L’Allegro, Il Penseroso ed Il Moderato to the International Arts Festival in Wellington in 1998. Live music was always Morris’ point of departure so the sizeable vocal and instrumental forces were sourced locally. That has meant you can easily find singers or players who were involved in the production, and who still rate it as one of the highlights of their musical careers.
To read Out Loud in tandem with Joan Acocella’s earlier biography of Morris is an interesting exercise that aids our evaluation of this prolific choreographer, while confirming my continuing admiration for Acocella’s outstanding skills as a dance writer.
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Another more recent find from Unity Books’ bottom shelf was Behind the Scenes at the Ballets Russes, by Michael Meylac. It has proved a hugely rewarding read. [Translation is by Rosanna Kelly].
Meylac’s young days as an ardent follower of ballet in his native Russia, and his subsequent work as a scholar of Russian literature and history, now for decades living and teaching outside his homeland, make him admirably equipped to provide a political and social background of European ballet history, and to discuss the development of distinctive ballet styles in different eras and countries. I often say that the history of ballet is the history of the world, and while I don’t expect anyone should listen to me on the topic, I think we all should listen to Meylac.
A poignant Preface to the English edition is subtitled The West in Russia and Russia in the West—a permeable membrane. The following Introduction is an erudite and thoughtful overview of the way the Russian ballet diaspora spread out in waves across the world during the 20th century … originally via Diaghilev’s and Pavlova’s companies, and subsequently through the number of other ‘Russian Ballet’ companies that formed in their wake and toured to far corners of the world. But that worked not only in one direction and it is the genius of this book that allows Meylac to identify many continuities and connections, within ballet’s endeavours, rather than the single block treatment of just one country or one company, as so many books have already done. His Introduction provides context for the interviews that form the main part of the book, conducted with more than thirty practitioners of the many generations in this ballet lineage.
The interviews are in two parts, then divided further into clusters—Part One—The Ballets Russes—In the Shadow of Diaghilev; Remembering Colonel de Basil’s Baby Ballerinas; The Dancers; The BaIlets Russes in Australia; The Ballet Russe de Monte Carlo in America. Part Two—The Marquis de Cuevas and Others.
Interviews are with Rachel Cameron (on Tamara Karsavina—a pearl), Tamara Geva, Alexandra Danilova (if star rating I would give this a 5), Irina Baronova, Tamara Toumanova (a black pearl this one), Tatiana Riabouchinska and more and more (27 in total). It brings tears to your reading eyes to catch the tumultuous early decades of the 20th century as background to these stories. it is refreshing, sometimes riveting, to hear so many voices, and each reader will be bound to find traces and links to their own dance experience, maybe only two degrees of separation between their teacher and someone who may have danced with Nijinsky, or been hired or fired by Diaghilev, or been in or at the premiere of legendary productions—The Firebird, say—to learn what Pavlova said when she watched a class, hear how starving dancers found food, or what Fokine said when Hitler marched by in the street below. Pavlova and Fokine were both here in New Zealand so you can place a couple of jigsaw pieces into the wider picture of this country’s dance history.
I was intrigued by the interview with Nini Theilade, born in Java but who finished up in Denmark where she choreographed works on the Royal Danish Ballet that Poul Gnatt danced in. There was further interest in the interview with Jean Babilée, a stellar performer with les Ballets des Champs Elysées when Gnatt joined that company immediately after World War II. That will perhaps be where he gained inspiration for the legendary Bluebird that he danced here in 1953, in the same Opera House in Wellington where Pavlova had danced in 1926, and where Loughlan Prior’s Firebird has just premiered in 2021. And so it continues, the ties that bind. The recent remarkable documentary Force of Nature Natalia, about Osipova, offers contemporary evidence that new choreography can still be appreciated on both sides of the Ballet Curtain, ‘the permeable membrane’, despite the political treachery that exists around them in the impermeable Iron Curtain that has rung down again.
All the above were reasons to read the book, but it is Meylac’s dedication to John Neumeier, choregrafo assoluto, and his exquisite final interview with him, plus his Afterword Like a tree, the art of ballet has many roots…that would make me buy it twice. Neumeier’s prolific choreographic oeuvre and directorial responsibility for Hamburg Ballet (since 1973!) are phenomenal achievements that leave other ballet companies in the shade. Meylac identifies Neumeier as the most deeply inspired inheritor of the best of the Russian heritage—his work with Galina Ulanova, his closeness to Vera Volkova, and his museum collection of works by and about his adored Nijinsky, and his new choreographies revisiting masterpieces are all unparalleled elsewhere.
Meylac’s discerning book reeks with integrity — looking back in ballet history so as to look forward, guiding us to understand so as to appreciate, leaving varying opinions verbatim to speak for themselves, and celebrating the lifelines that secure our dancelines.
footnote – Hamburg Ballet is my favourite ballet company on the planet and I am still in thrall to the Goethe Institut for offering me, back in 2005, many weeks of a dance study tour through Germany that wound up in Hamburg, enabling me to see eight of Neumeier’s full-length ballets, each in a ‘one night stand’ through a searingly memorable week. No other ballet company on Earth begins to match that production record. I’ve returned to Hamburg since, to repeat the pleasure, and just to be sure I hadn’t imagined it all on the previous visit. It was worth another separate trip to Copenhagen to see his The Little Mermaid by Royal Danish Ballet, a choreography I’ll be taking to Heaven with me when my time comes. It’s extra thrill that ‘our’ Martin James has many times danced the lead role in Neumeier’s Ulysses.
I’ve always enjoyed the synchronicity that Cloud Gate Dance Theatre in Taiwan, my all-time favourite contemporary dance company (now that Douglas Wright has gone) was also founded by Lin Hwai-Min in the same year as Neumeier’s company, in 1973. The repertoire of both companies has been exclusively of their choreographer/director’s works. These are phenomenal periods of longevity in performance arts and demonstrate that dance companies can survive on artistic genius with administration serving that vision, rather than the reverse situation of bureaucracies controlling artistic output.
