"Resting Bitchface, they call you. But there is nothing 'restful' about you..." - Our latest work 'Ode to my Bitchface' is a dance film we made in reaction to the amazing fierceness of Olivia Gatwood's poem of the same name. Beautifully delivered by Olivia in a live performance, we felt like we had to dance the chills out of our bodies as soon as we saw her original video. - Shot & edited by our wonderful friend and collaborator Tim Davis (http://timdavis.me) Poem written and read by Olivia Gatwood (http://www.oliviagatwood.com) Choreography & performance by Rebecca Björling & Rebecca Rosier for We:R Performance Collective Shot at Tegelscenen
An extract from Wayne McGregor's Chroma, featuring Laura Morera and Eric Underwood dancing to The Hardest Button to Button by The White Stripes. Find out more at http://www.roh.org.uk/chroma
Wayne McGregor's Chroma explores the drama of the human body and its ability to communicate extremes of thought and emotion. The score, drawn from original music by Joby Talbot and his arrangements of music by American rock band The White Stripes, is combined with stark, minimalist designs by architect John Pawson. Against this backdrop is set the inventive and energy-driven choreography of McGregor. Chroma had its premiere in 2006 at the Royal Opera House and in 2007 received an Olivier Award for Best New Dance Production.
A new film from director Anna Rose Holmer, known for her 2016 drama The Fits, captures a unique collaboration between New York’s Alvin Ailey American Dance Theater and Academy Award-nominated composer Nicholas Britell.
Choreographed by the theater’s artistic director Robert Battle, dancers Jamar Roberts, Christopher Taylor and Jeremy T. Villas play out a blue-lit movement to a euphoric score by Britell, the mind behind the soundtrack of the Golden Globe award-winning drama of the same name.
Nir Arieli‘s “Flocks” captures the Nederlands Dans Theater, Batsheva Dance Company, Ailey II and other top contemporary companies in unexpected, evocative images. Throughout the series, dancers are at rest, bodies piled and entwined in formations unique to each ensemble.
“The dance company is a social sphere in which the dancers live, love and work,” Arieli says. “This body of work is my search for what remains in the dancers’ bodies when the dance stops. When movement is drained from the body and the performative purpose is removed, only the possibility of movement that lies beneath the surface remains.”
Featured in the exhibition are Nederlands Dans Theater II, Batsheva Dance Company, Cedar Lake Contemporary Ballet, Shen Wei Dance Arts, Les Ballets Jazz de Montreal, Ballet Hispanico, Pontus Lidberg Dance, Ailey II (Alvin Ailey American Dance Theater) and the all-male Les Ballets Trockadero de Monte Carlo. The Martha Graham Dance Company and MADBOOTS DANCE were also photographed for the series.
“Despite the companies’ great differences in culture, heritage and sensibility the resulting photographs all had a shared quality, revealing something fundamental about how dancers physically communicate,” Arieli says. “Relying mostly on nonverbal language, the dancers formed intricate living sculptures. As they worked together, the minute dialogues between them enabled a larger visual narrative. The intertwining of bodies carries an undercurrent of sex and death, reflecting and amplifying the complexity of human relationships.”
Take two budding dancers, 15 locations around New York and many late nights making instructional cards, and you have Casey Brooks’ improvisational short, Casi (almost). The photographer, director and former tap dancer took to her favorite spots in Queens, as well as seminal landmarks like the Brooklyn Bridge, to explore how simple movements transform in different contexts.
“This project will eventually include models and pedestrians, as well as dancers,” says Brooks, who cast Rutgers University graduates during some downtime from rehearsals. “It could focus on anything as small as the way someone moves when they walk across a street.”
Brooks drew upon 60s feminist classic Daisies for inspiration, and soundtracked the frolics with XXYYXX's haunting track "About You." “There were women really drawn to this idea because it’s so familiar in a way. When one of them all of a sudden becomes this creature, it’s a very powerful image,” she says. “We actually had women stop and get on all fours to get their photo taken like that.”
As a longtime fan of Peter Lindbergh, Brooks incorporated a mannish suit into the wardrobe. “The girls brought all their own clothes, and I would just take out looks from suitcases in the back of my car,” she says. “It’s really about not thinking, putting things together and seeing the sort of underlying narrative that emerges – even when you didn't feel one.”
Lucinda Childs Dance Company performs Dance (1979) - Lucinda Childs, Philip Glass and Sol LeWitt Peformed at the Theatre du Chatelet, Paris, October 25th 2014
Dance 4 Choreography by Lucinda Childs Music composed and performed by Philip Glass on Yamaha YC45D dual manual electric organ Film by Sol LeWitt Stage Dancer - Caitlin Scranton Film Dancer - Lucinda Childs