A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

The Paris Opera Ballet & Alonso King Lines Ballet
Saturday, March 04, 2017





Being human for me is all about our ability to associate disparate stuff together. I believe this may be what differentiates my cat Casi-Casi from me even though when I hit a tin of cat food with a spoon he knows that the one and the other mean dinner is served.

Good dance can do the same. It can transport me elsewhere by what some might think are tenuous connections.

Consider that in last night’s performance of the Alonso King Lines Ballet at the Vancouver Playhouse (and tonight Saturday March 4 at 8pm) the first work Shostakovich (featuring five of his string quartets) had me thinking of a great tank battle between the Germans and the Russians in World War II at Kursk. And that was not all I was also humming in my head Shostakovich’s orchestration of Tea for Two (with a further digression to the Thelonious Monk version).

In the second part of the program, Alonso King’s Sand instantly took me to Jorge Luís Borges’ wonderful poem El Reloj de Arena (The Hour Glass).

Christopher Hass’s spare set design featured a curtain of shimmering golden strings that when ocassionally rippled by a dancer (from the back) suggested sand falling in an hourglass or sand dunes being buffeted by wind.  Axel Morgenthaler’s lighting design was also spare and not intrusive. With Robert Rosenwasser’s costumes and that gold lighting sand was in my head. At one point all ten dancers face a very strong light from one quarter and you could see how sun and desert almost did them in as they faltered.

The company itself (from the point of view of this rank amateur) is a company that is highly skilled and I would almost call it a modern ballet company in prestissimo. They are spectacular to watch. The five men and five women are all uncommonly tall. But with all their technique and virtuosity there was still room for passion, gentleness. In  the striking ending of Sand's VIII We Hum, Outro where Robb Beresford  placed his head on Madeline DeVries's lap.

While our city has a fairly healthy dance scene, it is most important to see how others in other cities (in this case San Francisco) do it. I was chatting with an Arts Umbrella dance student who was there “to see how”. Her favourite dancer of the evening was the male Babatunji. I particularly liked him because of his effusive smile. He was having fun.

Before the performance began I spotted a man sitting by the center wall in back of the theatre. He had a red cap on his head. I went up to him and asked him why his Spanish was so good even though he had been born in Georgia. With a smile of his face Alonso Lines replied, “I learned it in New York.”

I cannot end this sparse review (but of a performance that left me pleased if not exhausted by all the heavy duty movement) without mentioning that I have a personal connection with the Alonso King Lines Ballet. Before I go into that detail I must explain something that might not be generally known about dancers and dance companies. We all know that seasoned musicians must always practice before a performance. How about dancers? The fact is that even on tour in mornings before their performances they are given refresher classes on ballet and modern dance. Dance companies hire “mercenaries” (in a good sense) who are skilled in spades to bring them up to speed. One such person is my friend Sandrine Cassini.

Today as I write this she is giving those ten dancers a ballet class. I like to think that since Cassini started as a 14-year-old-dancer at the Paris Opera Ballet (!!Degas!!), somehow some of her technique, a most French technique is being transferred to those dancers. It was at one section of Shostakovich that extremely tall Courtney Henry did some slow movements en pointe. With her long arms and longer legs I was transfixed watching her. And yes there was something of Cassini in those moves. 

To someone who grew up in Mexico city in the 50s where I was exposed to American jazz (records and Voice of America) listening to the music of Sand composed by saxophonist Charles Lloyd and Jason Moran was a final icing on my dance night cake.



Hard Lace
Friday, March 03, 2017



Maddalena came to me with this concept. I thought she was nuts but I took the pictures anyway. Of course she was right.





















Anita Roberts - Elegance in Age
Thursday, March 02, 2017

Anita Roberts



If there is a hint of feminism in me it has all to do a tad with my mother and my wife Rosemary. It was my mother who told me to sew my own buttons and fry my own eggs after I complained on how she did it. Rosemary, whom I married in 1968 has been the financial pants in the family. She makes all those decisions that we men think we can do better (not a fact at least with this un-macho). 

Rosemary not only has never sewed a button but until I discovered that I could buy jeans that fit me exactly at Mark’s Work Warehouse I was forced to do my own hems. And of course Rosemary refuses to cook so I have to do that. In short in our family she rules most of the time.

In this spirit of my personal feminism I decry and dislike the posting in social media of pictures of older women that have been de-pored (as in skin pores) and hazed and blurred up. Worst of all are the comments from the womens’ friends (more so than the men): “OMG you are still beautiful!”  It is the presence of still that implies that other nasty expression that we all think but do not want to write, “You have been ravaged by time”.

Anita Roberts & Nora Patrich painting

In media, all media women who use Oil of Olay are models in their 20s. We live in a society that glorifies that kind of youth. If you are young you will find yourself attracted to people your age. In your 40s you might opt for a Miata and a younger redhead. 

Few ever mention the idea that persons like this one (74) is attracted to my own wife. She is not still beautiful. She is beautiful.

In vain I am not able to find women over 40 or over 50 to pose for me (clothed or not so).

The pictures you see here of the breathtakingly beautiful Anita Roberts have sat in my files for a couple of years. We had a session with Nora Patrich when she was in town two years ago. The story behind our photographs was that I had photographed Roberts as a much younger woman.

There is a tremendous pleasure in being able to photograph someone with that long lapse of time.
Because of our 21st century idea of what is correct and what is not I had to clone a rose on to her exposed breast. In spite of it Roberts is beautiful, handsome, striking, regal, elegant and not still. In fact she might not have been all that when I first photographed her!

Anita Roberts & Nora Patrich



Cara o Cruz
Wednesday, March 01, 2017

In previous occasions I have written this about a face:

Gerry Gilbert's Bicycle
Friday, February 24, 2006


Sometime in 1980 they sat at a Railway Club table one Saturday night, oblivious to a loud band playing on the stage. As I watched the pair of them, the music faded for me, too. She had this nose and the gaze - piercing for a long time, then remote almost diffused - I had seen seven years earlier at the Italian Cultural Centre. Gerry Gilbert had read his poetry after Allen Ginsberg's rather tedious singing and melodeon playing, and had revived all present. I spotted Gerry often, riding his Chinese bicycle downtown, and caught glimpses of Tamsin as she worked in a shopping mall restaurant.


Railway Club




and this:


Madeleine Morris's Mouth
Saturday, May 13, 2006


My Spanish grandmother would have said, "She has the map of Jerusalem on her face." In retrospect I can see what drew me to Madeleine when I first spotted her face - the pale skin made even whiter by the contrast with her red lips - in the summer of 1985.

As a boy growing up in Mexico City I would stare at the darkish faces yelling a strange archaic Spanish from the inside of the orange school bus that passed by every day. On its side was the inegmatic message " Colegio Hebreo Sefaradita". Ever since, Sefaradites or Spanish Jews, have been a mixture of the exotic and the mysterious for me.

In Madeleine's face I can see apparitions of the past. In the deep shadows of her eyes, I see the little girl peering out from the left corner of El Greco's The Burial of the Count Orgaz hanging in the church of Santo Tomé in Toledo. In her cheekbones I see her ancestors praying in a tiny white sinagogue in Granada. Nearby, in an ornate cathedral, lie the lead caskets of the Catholic Kings who would exile them forever from Spain in 1492.

Madeleine was raised in Spain, and she always makes it a point to remind me of the source of power over me in her throaty and impeccable Castilian. As I photographed her in her tub, she said, while carefully pulling the top of her yellow and black '50s bathing suit, "I had to wear something, after all. It has to do with my Jewish sense of morality."

Alas now at my age I find myself unable to write about this face:

María de Lurdes Bejar died young and again my vision of being on a train with passengers that jump out of the window and then when the train arrives at my Retiro station in Buenos Aires I find myself to be the only passenger.








Sandrine Cassini - A Soon-to-be Visit by an Apparition
Tuesday, February 28, 2017






Often in these pages I praise the day that I decided to become a photographer and not a plumber.  Plumbing would have been more lucrative and not the preoccupation of what the next job was going to be as a freelancer.

But there are some perks.  Consider my long photographic involvement with one of the most spectacularly beautiful (in a haunting 19th century-kind-of-way) ballerinas I have ever met.
This is her curriculum until a couple of years ago:

Sandrine Cassini

Ballet

Born in France, Sandrine Cassini studied at the Conservatoire Superieur de Paris before being awarded the Prix de Lausanne. After dancing with the Paris Opera Ballet, she joined Les Ballet de Monte Carlo, where she danced major roles in works by Balanchine, Forsythe, Neumeier, Duato Kylian and Maillot. Her career then took her to Zuricher Ballet, San Jose Ballet, Ballet British Columbia, National Theater Mannheim and recently, Bejart Ballet, where she performed in Alonzo King’s Figures of Thought. Sandrine has choreographed works on Staatstheater Regensburg, Ballet Victoria, Dances for Small Stages in Vancouver, and National Theater Mannheim. Most recently, she created a work on the LINES Ballet BFA Program entitled Arrowed Down, and she created the work every cloud has a silver lining on the LINES Ballet Training Program. She also created And Soon We Are for DTSF’s fall season. In 2014 she was the Ballet Mistress for the Royal New Zealand Ballet.


Since then she has been an extremely active mercenary dancer/choreographer/instructor traveling Have Tutu - Will Travel) to far flung places. I know of this because I can plot her movements through our mutual friendship in Facebook. She was last in Iceland.



It seems that soon she will be a guest in our Kitsilano home. I will have the opportunity of taking photographs of her again. This time we will also have time to reflect and converse.

I definitely prefer that to working under a kitchen sink.



Nuestra Señora del Internet
Monday, February 27, 2017




Nobody can deny that one’s path towards whatever is deemed to be a success can be pushed along with a good contact. All those who in some way either with money or with sycophancy contributed to Trump’s election are now reaping the benefits. In some case experience is not necessary.

For those who are not Roman Catholics or High Church of England there has always been this problem of not understanding the role of Christ’s mother Mary into the scheme of what makes Catholics revere her.

It has all to do with that most important word, intercession, commonly explained by the expression go-between.

If you ask the Virgin Mary, perhaps with the help of a rosary or in a direct prayer for help in appealing to her Son to help you retain your job or cure your terminal disease you have good grounds for this. After all it was in that wedding where wine was run out that the man giving the feast appealed to Christ’s mother. And wine did pour.

In the same way Catholics appeal to saints, particularly those known for some specialty, to help them. My mother and grandmother who had a penchant for losing one from a pair of earrings were often asking St. Anthony of Padua to help them find the lost article. And they used a quid-pro-quo approach. If we find the earring we will donate 10 pesos to charity. But if you don’t…

Think of any trade, profession or whatever and there is a patron saint for it. In Mexico drug smugglers have la Santa Muerte..

Another custom much on the way out is naming your child when it is born by the name of the saint of the day. This is why there are so many women in Mexico (as an example called by that ungainly name of Petra). Worse still is naming a girl Mary. In Spanish there are many versions (variations) of the Virgin Mary. There is Nuestra Señora de Guadalupe (which means all those Mexican women called Lupe are in reality called María de Guadalupe.

Worse are those named after our Lady of Perpetual Help (Nuestra Señora del  Perpetuo Socorro). They usually go by the shorter Socorro or even shorte Soco. Imagine shouting after her ¡Socorro! ¡Socorro! Are you asking for help because you are in a fix perhaps going down for the third time in a raging and deep river or just calling for a friend?

Worse of all are those women (usually from every Spanish speaking country except Argentina, and I will explain) called María de la Inmaculada Concepción. These Marías are always called by the shorter Concepción and by the affectionate Conchita. That is verboten in Argentina.

Thanks to Linnaeus who thought that the sexual organs of a clam resembled that of a human woman in English a clam can be more than just a clam. I do not have to go any further, I believe.

In Argentina a concha (clam shell) is what a woman has that men don’t. This would make it certain that any visiting Conchitas to Buenos Aires will assert that their name is María.

I wrote here about Saint Isidore of Seville who the most Christian Spaniards have designated to be the patron saint of the internet.

I think that this is a splendid choice for the man who first used the word cama or bed. But I would also like to propose here that there is a version of the Virgin Mary, Nuestra Señora del Internet who we can appeal to intercede for us when our computer crashes.

Saintly Derivations



     

Previous Posts
David Macgillivray Meets My Sword Excalibur

Baroque Pearls & José Benito de Churriguera

Leonard George Did Not Make It To Spring

Jonas - Good Joby!

The Vivaldi Gloria, Alice Cooper, Igor Stravinsky ...

No vuelven nunca más.

Despised & Rejected Superbly

Olena & My iPhone3G

Style Observed

Sandrine Cassini - Dancer - Woman



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8/26/12 - 9/2/12

9/2/12 - 9/9/12

9/9/12 - 9/16/12

9/16/12 - 9/23/12

9/23/12 - 9/30/12

9/30/12 - 10/7/12

10/7/12 - 10/14/12

10/14/12 - 10/21/12

10/21/12 - 10/28/12

10/28/12 - 11/4/12

11/4/12 - 11/11/12

11/11/12 - 11/18/12

11/18/12 - 11/25/12

11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

3/10/13 - 3/17/13

3/17/13 - 3/24/13

3/24/13 - 3/31/13

3/31/13 - 4/7/13

4/7/13 - 4/14/13

4/14/13 - 4/21/13

4/21/13 - 4/28/13

4/28/13 - 5/5/13

5/5/13 - 5/12/13

5/12/13 - 5/19/13

5/19/13 - 5/26/13

5/26/13 - 6/2/13

6/2/13 - 6/9/13

6/9/13 - 6/16/13

6/16/13 - 6/23/13

6/23/13 - 6/30/13

6/30/13 - 7/7/13

7/7/13 - 7/14/13

7/14/13 - 7/21/13

7/21/13 - 7/28/13

7/28/13 - 8/4/13

8/4/13 - 8/11/13

8/11/13 - 8/18/13

8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

10/6/13 - 10/13/13

10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

4/6/14 - 4/13/14

4/13/14 - 4/20/14

4/20/14 - 4/27/14

4/27/14 - 5/4/14

5/4/14 - 5/11/14

5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

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

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17