[Fredslist] FW: Limón Dance Company Upcoming Events and Interviews

Tue Feb 2 12:11:02 EST 2010

For anyone who might be interested.  

Laurel Scarr-Konel
Grant, Herrmann, Schwartz & Klinger LLP
675 Third Avenue - Suite 1200
New York, NY 10017-5704
Tel: (212) 682-1800
Fax: (212) 682-1850
email: lscarrkonel at ghsklaw.com

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From: José Limón Dance Foundation [mailto:jldance at jldance.pmailus.com] 
Sent: Tuesday, February 02, 2010 12:01 PM
To: Laurel Scarr-Konel
Subject: Limón Dance Company Upcoming Events and Interviews

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FEBRUARY 2, 2010

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LIMÓN DANCE COMPANY 

NYC PERFORMANCES 2010

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February 9-10, 2010 8:00pm
Anna Sokolow Centennial Celebration
Baryshnikov Arts Center, 450 W 37th St (between 9th and 10th Ave) 

Post-Performance Benefit Cocktail on February 9th Tickets $100
Program features Anna Sokolow's Rooms and José Limón's There is a Time with live music in collaboration with the Manhattan School of Music. 

For Tickets Click Here <http://jldance.pmailus.com/pmailweb/ct?d=KzqVbwKvAAIAAAKXAAOS-A>  or call (212) 777 3353
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March 5-7, 2010
March 5 and 6 at 8:00pm, March 7 at 3:00pm
92nd Street Y Harkness Dance Center, NYC
Tribute Program to honor some of the legendary choreographers who had an association with both the 92nd Street Y and José Limón

For Tickets Click Here <http://jldance.pmailus.com/pmailweb/ct?d=KzqVbwKvAAcAAAKIAAOS-A> 
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 Photo by David Levy
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Photo by David Levy

May 17, 2010 7:00pm
José Limón Dance Company Performance and Gala Dinner honoring the State of Sinaloa, Roxane D'Orleans Juste and Paquito D'Rivera
Skirball Center for the Performing Arts, NYC

For Tickets Click Here <http://jldance.pmailus.com/pmailweb/ct?d=KzqVbwKvAAgAAAGwAAOS-A>  or call (212) 777 3353

A CONVERSATION WITH JIM MAY

 Photo courtesy of Dance Magazine, by Robin Meerns
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Photo courtesy of Dance Magazine, by Robin Meerns

A CONVERSATION WITH JIM MAY ABOUT RE-STAGING ROOMS

What makes Anna Sokolow someone whose work resonates today? Why was she important, and continues to be so?

JM: Her imagination went beyond the invention of movement into the very DNA of choreography by tapping the human spirit so deeply and with such honesty and truth that her creativity passes the test of time. She was one of the first Modern choreographers to work with ballet companies such as Ballet Rambert, Netherlands Dance Theater, and the Joffrey Ballet in the late 50's and early 60's. This broadened her interests beyond her own company. She also choreographed on Broadway - Leonard Bernsteins's CANDIDE, Kurt Weill's STREET SCENE, and the original HAIR for the Public Theater. These experiences made her work for her own company something that always pushed the envelope of style. A difficulty in categorizing Sokolow is that each work is totally different from the others. This also makes it difficult to find dancers who can cope with all these styles. The dancers in the Sokolow Theatre/Dance Ensemble have been working in her technique, some for as long as 25 years. We dance all over the world planting 'seeds of Sokolow' that hopefully will continue to grow for years to come.

What was Anna's special interest in Mexico?

JM: I think it was Anna's love of Mexico that made her respect José so much and became the basis for their friendship. They both received choreographic fellowships at the Bennington College Summer Program in 1937. Anna was invited to Mexico by Carlos Merida, head of the Bellas Artes, in 1939. She continued to keep a close with relationship with that country, establishing a group of dancers fondly known as the Sokolovas. In the 1950's when Raul Flores established Ballet Independiente she was a regular guest artist, creating works for the company. In 1997 she was awarded the Aztec Eagle Award by Mexico, the highest honor that can be given to a foreigner.

What was your experience teaching "Rooms" to the Limon Dance Company?

JM:This is the second time the Limón Company has performed ROOMS. The first was in the 1980's when I assisted Anna. This time when the rehearsals started I was quite emotional. I miss her very much. However, the company was so enthusiastic, worked with great effort to understand her approach, and stimulated me to give my all, which is exactly the way Anna worked. Anna said, "You must have eighty images for every movement, because when the curtain goes up, seventy nine of them go out the window." Performing Sokolow's choreography goes way beyond just memorizing the steps. Her innovative work with actors led to the development of the art form called Theater Dance. It is rare that I find dancers who know about the art of acting. Most dancers today only dance as themselves on stage, or if they act, only pretend. José was not only a great dancer and choreographer, he was also a great actor and his company members have had to be adept at these two different arts. I felt very lucky to have worked with the dancers in the Limón Company. They gave so much of themselves.

Anything else you want to add?

JM: Carla and I have been friends since the mid 1960's when we danced together in José's company and I feel we carry on the friendship that was established by our mentors. It seems only appropriate that ROOMS helped celebrate Jos's 100th Anniversary and continues with Anna's. The Limón organization is such a special place, a home away from home for me.

LIMÓN QUICK LINKS

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To volunteer at Limón, please send an email to info at limon.org

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JOIN THE LIMÓN DANCE COMPANY FOR AN EXCLUSIVE LECTURE DEMONSTRATION

The Limón Dance Company cordially invites you to attend a lecture demonstration and panel discussion led by Artistic Director Carla Maxwell featuring works by choreographers José Limón and Anna Sokolow and at the Americas Society on Thursday February 4th at 7:00pm.

Americas Society
680 Park Avenue
(corner of 68th street)
New York City

FREE ADMISSION

Please RSVP by TOMORROW, FEBRUARY 3 AT 5PM to info at limon.org

Photo by Beatriz Schiller

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THOUGHTS ON KENYON HOPKIN'S COMMISSIONED SCORE FOR ANNA SOKOLOW'S ROOMS BY CONDUCTOR JUSTIN DI CIOCCIO 

Going into the preparation process of conducting Kenyon Hopkins score for Rooms, I was already familiar with the composer's work. I knew many of the musicians who played the original performance. My dear and close friend, Clern DeRosa, who is still active in the jazz world, told me about the work years ago. I believe Anna Sokolow was the first choreographer to commission a serious jazz score for dance. When I saw a DVD performance, I immediately fell in love with the piece. However, I knew that a vintage, 1950's jazz score would be especially challenging for the musicians, both in performing and rehearsing the work. The distinct style (of the music genre) and synchronization with the dancers require practice. The challenge of the rehearsal process will be making adjustments to the tempi and coordinating dancer entrances and cues.This will be the first time for the Manhattan School of Music Jazz Ensemble to collaborate with a modern dance company and I hope it will open the door for future projects.

Manhattan School of Music Jazz Ensemble for Rooms

Jay Rattman, Tenor and Alto saxophones, Bb clarinet

Benje Daneman, trumpet

Can Olgun, piano

Lauren Falls, bass

Austin Walker, drums

Photo by Andrew Laplay

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FEATURED LIMÓN COMPANY DANCER:

DANTE PULEIO

What was your favorite part of learning Rooms?

DP: I really enjoy getting to work one on one with Jim May. It is one of those "horizon-broadening" experiences, he really made me dig down into the meaning of each movement to help me find how to make it real. He has this ability to make you realize the truth behind the performance of what it is that you are doing. He never lets you get away with anything that isn't honest. Once I found what that was for me, it shifted how I look at, learn and perform all the other work we do. Getting to run the solo for the first time in front of the rest of the company put to the test everything I worked on with Jim. It was exhilarating.

Which is your favorite Limón piece and why?

DP: My favorite Limón piece is probably Traitor. The intensity and strength of eight men moving together on stage is unlike anything I have ever experienced. Although, I have just finished learning Iago (The Moor's Pavane) and even though I haven't performed it yet, I have a feeling I may have a new favorite soon.

Photo by Kelly Puleio

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WELCOME BECKY BROWN TO THE STAFF!

Becky hails from England and completed her dance training at the Laban Centre, London. She went on to be a member of Transitions Dance Company and then continued her training in Canada. Becky has been a member of Loop Dance Company since 1997 and has worked as a freelance dancer, teacher and choreographer in the UK and US. Becky devised and taught on the Performing Arts Degree course at University Centre Folkestone, UK and has also taught on the Dance Degree course at Roehampton University. Becky recently took a year's sabbatical to complete the Professional Studies Program and the Limón Teachers Program, and now returns to Limón to continue training in Arts Administration.

Photo by Merlin Hendy

The Limón Dance Company is supported with public funds from the New York State Council on the Arts, A State Agency; the New York City Department of Cultural Affairs; and the National Endowment for the Arts.

Additional support is generously provided by the following institutions: Frances Alexander Family Fund, American Express, The Gladys Krieble Delmas Foundation, Design Brooklyn, The Fan Fox and Leslie R. Samuels Foundation, Marshall Frankel Foundation, the Harkness Foundation for Dance, Henry and Lucy Moses Fund, Jerome Robbins Foundation, The Shubert Foundation and the Lila Acheson Wallace Theater Fund, established in The New York Community Trust by the founders of The Reader's Digest Association.

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