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Grace Symmetry - Swirls Of Excitement
Tuesday, February 11, 2014



 
Centre, Darren Devaney


Many of us who live in Vancouver do not understand that in spite of pitiful funding of the arts we somehow manage to have a most exciting city full of stuff that bigger cities only dream of.

My birthplace of Buenos Aires features lots of theatre, ballet, opera, art and music. But in a recent perusal of BA newspapers  while there this past September I saw lots of 19th century ballet and symphonic music. There was nothing new, nothing 20th or 21st century. And worse of all they have few libraries where you can check out a book and take it home!

My guess is that it has been some years since porteños last heard Olivier Messiaen’s exquisite Quartet for the End of Time . Vancouver’s Turning Point Ensemble played it three years ago and they keep presenting concerts with music that is rarely heard on the radio or in concert halls. And consider that Vancouver’s  Microcosmos String Quartet has been playing in 2013 and in this year all three Benjamin Britten Quartets, and Bella Bartok’s 6 String Quartets.
  
And if you think that our VSO is somehow stuck in the 19th century you are wrong. Only recently they had a four day extravaganza, a first ever New Music Festival.


 

Next week, on the 20th, 21st and 22nd, the Turning Point Ensemble is joining forces  with
These evenings of modern dance will feature three living composers, Lera Auerbach, John King and our very own Owen (sorry about that alliteration) Underhill who is also the director of the Turning Point Ensemble.


 Vancouver’s choreographer Wen Wei Wang's piece In Motion has as music Underhill’s Geometry of Motion. The piece does feature pointe shoes if you think it might be a barefoot kind of evening. The musical group here is a smaller one and there is a wonderful section Brenda Fedoruk on stage playing her flute while a solo dancer (on Tuesday at the rehearsal it was Alexis Fletcher) whirls around her.

Kevin O’Day’s Here & There (from Detroit via Germany so he told me) will be danced to John King’s time-vectors/still points features most of Ballet BC’s dancers and a large segment of Turning Point Ensemble’s musicians.

Lastly choreographer/dancer (a most exciting one) Medhi Walerski’s piece, Prelude is unusual and the music for violin and piano by Lera Auerbach features sweet music which might sit well after the ballistics of John King (Turning Point pianist Jane Hayes came as close to demolishing the Steinway in the first rehearsal this Tuesday). 

If you didn’t know, one of the most innovative dance groups in the world is the Netherlands Dance Theatre. That Emily Molnar has the connections to lure Walerski from his post there says a lot of the quality and direction of Ballet BC and a growing standing in the world of dance, Vancouver style. I will not reveal more but say that a very long black string is attached in this work.

If by now you are wondering how I know some of the stuff mentioned above I have to boast that I was lucky enough to have my request to take pictures of the first rehearsal accepted by Emily Molnar’s Ballet BC and Jeremy Berkman, trombonist and co-Artistic Director had no objections which he conveyed to me with a warm smile. 



This means I spent a whole day walking around musicians, standing a mere two feet behind Owen Underhill while he was directing, watching Hayes’s piano shake the foundations of the hall (the Arts Umbrella Studio on 7th Avenue) but best of all watching Ballet BC dancers warm up. Some used odd artifacts. One dancer rolled her upper thighs and legs on a tennis ball while another on a small red rubber ball. Most of the dancers with imposing leg muscles even managed to look cute in their special foot cozies.

I wondered why these dancers were so silent and serious looking. One dancer informed me that they were thinking about what they had to do and that kept them very busy.




There was one quiet spoken man, Sylvain Senez (Ballet BC's rehearsal director) who seemed to be the WD-40 of the day. He smoothed out the differences between the dancers and the musicians, proving that the French indeed are still masters of diplomacy.

As it was explained to me, dancers count steps and those steps that they count don’t always have anything to do with the music. Of this I know a bit as in Argentine Tango, the man can stop on the dance floor whenever he likes for whatever reason he might have or feel. In Argentine Tango the man not the music is in charge.



It would seem then that when a musical group accompanies a dance troupe, the dancers are in charge and the musical director has to adapt. I was there when Underhill pointed out to his orchestra that there were triplets on several pages of the music in which the musicians (with the exception of the violins, so I heard) had to play them staccato as the dances would appreciate them as cues.

During the rehearsal some very young Arts Umbrella dancers, accompanied by their teacher, Margaret Reader-Martin sat down at the edge of the dance floor to watch. As soon as Emily Molnar noticed she went up to them and went on her knees (she can be intimidating as she is about 6ft tall) and introduced herself to them. Molnar knows that sooner or later quite a few of those young girls and boys will find their way to Ballet BC in their late teens. In fact Ballet BC has five dancers that are Arts Umbrella alumni and three of their apprentices are from there, too.




I noticed that the students (Ballet 3A) were not in the least intimidated by the music that while not in the least like Tchaikovsky was not Bella Bartok either. When you listen to modern and new music danced somehow what you think is chaos is not in the least that. If you have a good ear watch for the sound of an unusual instrument not seen too often, this is Caroline Gauthiere’s bass clarinet. Another unusual instrument in Underhill’s Geometry of Harmony as you will hear a vibraphone, played by percussionist Martin Fiks. Underhill’s choice is to have the vibraphone not plugged into the wall for less of a tremolo effect.

While it is exciting to be present at an opening performance of a brand new work of dance (three of them! Strictly speaking two as Wen Wei Wang’s was first premiered by Ballet BC in April 2011) it cannot compare to being so close that you can hear the dancers breathe and the whispering of the choreographers when they gently nudge dancers to try it again in a different way.

 Not usually known is that dance like film (of the moving picture kind) has a ritual and a set of rules. One of them is awfully expensive. When you commission a new work or obtain permission to perform it, it is clear that you have to pay the choreographer and the composer. You have to pay royalties. Even lesser known is that the choreographer (or a representative) must be present at rehearsals and at performances. This means, if the choreographer is from abroad, airplane tickets, hotel accommodations, etc.

It is my guess that Emily Molnar, Ballet BC, Turning Point Ensemble must be most careful on how money is spent. This sort of dance performance is not run of the mill stuff danced with recorded music.

There is only one way to support this sort of thing in our really fun city. And that is to go to these performances and nurture an exciting dance company and a little musical group that could and certainly can.




Together Ballet BC and Turning Point Ensemble will dazzle you with Grace Symmetry.

But I cannot quit here without telling you that I am a fan of a dancer who wowed me in Medhi Walerski’s Prelude. This is Edmonton born Darren Devaney whose spare body seems to soar while injecting a peculiar style of lively humour that made me want to watch him all the time. And if that were not enough, Devaney's partner in this work is the superb Rachel Meyer (she of the little red ball).




The pictures you see here I call dance swirls. I used a Fuji X-E1 rated at 3200 ISO b+w and the bulk of them were taken with shutters speeds that fluctuated around 1/15th, 1/8 and 14 of a second. 


















     

Previous Posts
Dances For A Small Stage Taps Jim Hibbard

First Paragraphs & Autobiographical Novels

Swirls At Arts Umbrella Dance Company

Warmth & Urbanity At La Bodega

So Many Venues, So Little Time - Why Bother?

Super Bowl Angst

The Luv-a-Fair & A White Dog

Peter A. Lusztig - May 12, 1930 - January 26, 2014...

That Priviliged Position

The Next Big Portrait



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2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17