"Cold Song"...Benoit Swan-Pouffer

France is known for many things...baguettes, the Louvre, Brigitte Bardot...and most importantly for dancers, BALLET. If it weren't for King Louis XIV, the world would not have barres and tendus, battements and degages. So it is interesting to note that some of the most innovative changes in ballet repertoire are now also coming from France, or in this case, French ex-pats living in NYC. Benoit Swan-Pouffer is the artistic director of Cedar Lake Ballet company. I simply adore the way that he plays around with the traditional conventions of the art form, while finding exciting, original material hiding just below the surface. This is your mother's ballet...and it's TOTALLY not.


MUSICALITY: The fascinating aspect of this work is Swan's ability to find accents in music that is otherwise adagio and seemingly lacking in any percussive quality. At 1:57-1:59, the female dancer creates a ticking motion with her arms that exactly mirrors the halting vocal patterns of the vocalist. Sometimes, the focus is placed on the exact moment that physical contact is made. At 0:43 there is a distinct flourish of the harpsichord that can be clearly identified as the male dancer touches the back of the female's neck...almost as if chills were running down her spine.

DANCER SYNC: Good choreography is like a good script...the "dialogue" just flows naturally, organically, without undue force or pressure. Watch the dancers at 1:42-1:46, and you will see how the arm gestures are beautifully coordinated and share the moments, taking turns "talking" to each other.

AUDIENCE ENGAGEMENT: As I said at the beginning of this piece, the element that is particularly engaging for the audience, is Swan's ability to fuse the old and new, traditional with contemporary exploration. Look at 0:21-0:32, where the female dancer begins a series of bourree balances, only to quickly melt into a contorted knock-knee position, creeping slowly across the floor. There are many delicious little surprises like this throughout the piece...and this makes for a mesmerizing viewer experience.

KUDOS to Swan for blazing new trails and expanding the notion of what movements "are" and "are not" ballet...and for challenging people to think outside their tradition perceptions of "classical" vocabulary.

"Foi" by Sidi Larbi

The dance world is chock full of comparisons and criticism. A "downtown" modern dancer will often scoff at the "commercialism" of film and TV dancers. Meanwhile, I've heard many hip hop and street jazz dancers express total confusion at the mention of performance art or deep contemporary. But the fact remains, that no matter what type of dancer you are, what particular genre grabs your eye and attention...the body is the body, and movement is movement. In hands of a skilled choreographer, surprising discoveries can be made in areas that are generally thought to be "NOT DANCE." The bane of the dance competition world, is the solo that is exploding at the seams with acro and gymnastic elements. You can almost hear an exacerbated judge screaming, "enough with the flipping...WHERE IS THE @$#%&$ DANCING?!?!?" And while this sentiment definitely carries merit, I do believe that there is a way to incorporate ANY movement, in an artful, mindful way that can be used to express some aspect of the soul. Sidi Larbi, is a collaborator of the highest degree and is constantly challenging himself to find the art, beauty and dance in movement disciplines that are not traditionally considered "dance." Whether is it working with Shaolin martial artists or gymnastics, his creations are hypnotic:


MUSICALITY: Two musical qualities jump out at me when I watch this clip. One is the rise and fall of the vocal lines, and the manner in which the movement mimics this dynamic. A note or a position will be held to its maximum length, and deftly falls to its resolution (2:38-2:42). I also appreciate the fact that there is virtually zero impact with the floor. While, the choreography is in constant contact with the ground, it never seems as though the body is thrown into the earth with force. This is interesting because the music is devoid of any percussion, no drums, no beat...just the soft ebb and flow of the voice.

DANCER SYNC: I have personally worked with so many choreographers who lack the ability and technique to create phrases that work in harmony with the floor. Certainly, many people experiment with "floorwork" but rarely do you see a sequence that exhibits this degree of fluidity and ease. He almost seems to be dancing a duet with the floor...exquisite!

AUDIENCE ENGAGEMENT: From the viewer's perspective, there will always be something exciting about the "gravity defying" skills that are the provenance of gymnastics, acrobatics, and circus. However, when we understand that dance is an art form, used for self-expression, it is not sufficient to simply execute a "move" or "trick" just for performance value. Every moment of the piece needs to answer the fundamental question "WHY?" In this case, none of the acrobatic elements feel extraneous or unjustified. Look at 1:26-1:28...WHY did he grab this element from the b-boy hip hop culture? The answer was that if provided the most elegant exit from the twisting dive that preceeded it and allowed him to transfer the downward energy into a circular walking pattern to the front. You can look at every instance of gymnastics, every acro moment, and can justify their inclusion in this piece, making them appropriate and appreciated.

KUDOS to Sidi for opening the door to the "dance club" and inviting new, non-traditional movement choices into our vernacular.

"Michigan"...Erica Sobol

As human beings, one of the most desirable qualities we seek in others is authenticity. Nothing irks people more than the pretentiousness of a "fake" person. Interestingly, this same characteristic resonates within dance. When we see a choreographer who embraces vulnerable humanity, our breath is snatched away because we recognize the familiar...we see ourselves. Erica Sobol is what I a call a "mirror-ographer"...she creates by simply observing human beings in their natural form, and then reflects this reality back to us through the poetic filter of movement. The result is hypnotic and vicarious...because we are witnessing the moments of our own life, through Erica's eyes:


MUSICALITY: When a singer/songwriter composes music, much thought is given to the way in which the lyrics will unfold, bounce off each other, and play between. Syncopation then becomes an imperative tool for achieving this interplay. When it is most successful, it can give a choreographer a plethora of information, rhythmically, visually, and thematically. Erica understands this completely and finds numerous ways to have dialogue with these internal rhythms of the song. From 1:14-1:19 you see her painting a visual thread for the words "I wonder was it gone, now I know." However, what really makes Erica a unique voice, is that she "hears" the movement in stereo, not only digging into the lyrics, but simultaneously animating the musicianship as well. The best example of this is at 1:22, when you actual "see" what the lone pluck of a guitar string "looks" like within the dancer's body.

DANCER SYNC: Revisiting the idea of authenticity of dance, we have to examine the role of "technique" and "tricks." If someone were to watch this piece and judge it solely on the number of pirouettes or grande jetes, they would probably conclude that the combination was not particularly "hard." And yet, I would actually argue, that this combination is an example of exceptionally difficult and advanced choreography, artistically AND technically. To be able to control the acceleration and deceleration of the tempo, to gracefully bring the vocal nuances to life, and "hide" the technique into the fabric of the statement...take incredible maturity and insight. Because Erica roots her movement in the common planes of movement (parallel sagittal, frontal, and transverse), the dancer will feel at home and familiar in the sequence.

AUDIENCE ENGAGEMENT: I adore the moments of humanity that pepper this excerpt. As a viewer, we always want to empathize and relate with the dance we are watching. When the dancer walks forward at 1:49 ("keep your hands where I can see them"), we instantly recognize this moment of defiance, rebellion, or anger. And yet, since the choreography does not make it presentational (acting and mugging for the camera) we realize the genuine nature of what we are seeing, and it hits us right in our sense memory.

KUDOS to Erica for allowing us the luxury of viewing our own frailties and the permission to accept our humanity.

"Ten Duets On The Theme of Rescue"...Crystal Pite

For those of you not familiar with the work of Crystal Pite, you are in for a treat. This choreographer sees the body in its most versatile and poetic angles, never content to just tread the comfort zone of movement. What most surprises me about her choices, is the juxtaposition between movements we would not normally associate with each other, similar to a chef using non-traditional ingredients and combinations to create something unexpected and delightful. This is an excerpt from a longer piece, but it highlights her work nicely:


MUSICALITY: At first glance, it may seem like the camera shutter speed has been "sped up" to create the effect of frantic motion. However, I assure you that it has not been manipulated in any way. This is simply the eloquent brilliance of Crystal's work. She has carefully mapped out sequences that can be executed at top speeds, yet in perfect sync with the music. Certainly, this takes hours of rehearsal to nail the precision and nuance...but then again, so does a Chopin etude!

DANCER SYNC: What makes a choreographer's work particularly resonate with a dancer, is the degree to which a movement sequence makes "kinetic sense." At times, a choreographer might try to intentionally break up ingrained habits of movement by experimenting with forced exercises (eg brushing your teeth with your non-dominant hand). This technique can lead to interesting conclusions that may, or may not, end up ever feeling truly at home in the dancer's body. However, what is even more impressive, is when a choreographer is able to find new paths that feel completely familiar, leaving that dancer thinking "wow, why didn't I ever think of that...that feels great!!" If you watch the partnering sequence from 1:32-2:00, you will see a lengthy movement idea that is expressed beautifully and logically, in the kinetic sense. One movement flows seamlessly into the next. When the bottom dancer places his foot on the shoulder, Crystal doesn't have him try to hoist his opposite leg over the braced one (as many novice choreographers might choose to do). Instead, she simply has him reposition the bottom leg and then brings the top leg down...simple and brilliant.

AUDIENCE ENGAGEMENT: Another facet of the work I particularly admire, is Crystal's ability to throw the audience's attention and focus exactly where she wants it. As opposed to simply throwing everything up on the stage to see, she instead makes careful decisions about what to reveal and what to keep hidden. At times you might simply catch a glimpse of a hand or foot...and this has been meticulously calibrated. At the end of the video, notice the "running man"...here we see the desperate feet chasing violently in one pool of light, while the calm space between the silhouettes of two outstretched hands slowly closes the gap. This technique of guiding the viewer's eye is subtle and completely effective.

KUDOS to Crystal for shining an illuminating light on what has been right under our noses the whole time.

"I Wanna Dance With Somebody"...Marko Panzic

Often, the death of a great artist causes people to reexamine their body of work, culling new details that may have been overlooked the first time around. For the choreographer, going back to a piece of music that was an important part of their personal history can be an opportunity to breath new life into old song. Marko Panzic, a talented Australian choreographer and producer, recently explored this classic track by Whitney Houston. Interestingly, her music still resonates deeply with today's dancers...and probably always will:


MUSICALITY: Marko has an exceptionally gifted ear when it comes to the vocal nuances and rhythms of Whitney's voice. Notice how he interprets the phrase "when the night falls, loneliness calls" at 0.40-0.46. This is a great example of the movement creating visual synergy with the lyrics. Whitney bites into the word "when" and Marko responds with a definitively bold forward step. On the word "falls," Whitney's voice lilts into a slight decrescendo and Marko augments this with a deep grande plie(deep knee bend). Similarly, the shoulder isolations perfectly mimic the syncopation in Whitney's delivery of the word "loneliness." This kind of interplay between movement and music is what creates a seamlessly integrated experience.

DANCER SYNC: When you write with a physical pencil and paper, you have the option of individual block letters, or cursive strokes that connect from one to the next. Working dancers appreciate choreographers who can mimic this uninterrupted flow of information. Marko's gift lies in finding pathways that move along the body in a perfectly logical natural way. Watch at 0:35-0:39 and 0:59-1:01 and you will see two sequences of movement that demonstrate this smooth, fluid transition from one picture to the next. However, it should also be noted that, at times it is important to punctuate the flow of movement with "hits" that act as an exclamation point or period at the end of your sentence. The side snap at 0:27 is one such moment. When a choreographer like Marko, is mindful about creating these well-made phrases, with fluid transitions, as well as punctuated stops...the dancers rejoice.

AUDIENCE ENGAGEMENT: As I mentioned before, it is important for contemporary dancers and choreographers to continually revisit the classic work of artists who have come before. Innovation lies on top the progress and experiments that preceded us. By watching Marko's homage to Whitney's artistry, you can see that his respect for her talent is palpable. And yet, Marko's work does not feel like a rehash or recycling of "bad 80's choreo"...actually the opposite, it has a very fun, fresh relevance and playful energy. For the viewer, the intersection of something familiar with something brand new, is a smart way to connect with the past, yet introducing new information into the art form.

KUDOS to Marko for paying respect to one of the great voices of our time, by digging into the groove of the past and molding an entirely original artistic idea.

"Finger Food"...King Bones

In this installment for S.C. we look at the "flexing" form, which is a derivative of the tutting genre. Existing at the intersection of "turfing" and contortion, King Bones creates a fluid and mesmerizing fusion of architectural lines and pictures:


MUSICALITY: Inherent to this style, is the idea of "pocket beats." If you listen to the accompanying track, you will hear a percussive snare hit on beats 3 and 7 of the 8 count bar. When the rhythmic structure is so clearly defined, it is typical for an experienced choreographer to find phrases that "sit deep in the pocket" of these hits.

DANCER SYNC: Certainly, this style of street dance requires extreme flexibility within the glenoid fossa and entire shoulder girdle complex. However, assuming that the dancer possesses the required range of motion, the movement itself flows beautifully. In fact, its interesting to watch how King Bones asks the body to create visual perimeters, and then subsequently trace within them. While some of the angular shapes, especially the 90 degree corners created by the forearm and hand at the wrist joint, are only accessible after conditioned stretching, once the carpal muscles are able to sustain the form, it can be a very strong aesthetic choice.

AUDIENCE ENGAGEMENT: As humans, we are so accustomed to seeing the body in its symmetrical, anatomic position. Therefore, when King Bones uses the contortion to create liquid asymmetry, the result is shocking. Looking at 0:59 and again at 1:55, we see the entire dance taking place on one side of the body, its simultaneously eerie and breathtaking. Also, I found the intercuts between dance and pedestrian train rides, both surreal and necessary to maintain pacing throughout the piece. Inventive partnering, between the dancers, as well as the side of the subway car (0:38), also lend to the site specific exploration of King Bones' work.

KUDOS to King Bones for experimenting with various forms and location, to concoct a deliciously puzzling and intriguing piece of urban avante guard fusion!

"Hibiki"...Sankai Juku

Today's video is a compilation of moments from Hibiki, a piece by Sankai Juku. This is a Japanese company that plays with the idea of silence and contemplation. Amagatsu Ushio, the company's founder, has taken the "butoh" dance form of the 1960s and re-mixed it for the contemporary viewer. Ushio has stated that "butoh" is a "dialogue with gravity. While other dance forms tend to revel in escaping from gravity, Sankai Juku is based on sympathizing or synchronizing with gravity." Sometimes choreography is complex and in constant motion, and other times, a choreographer may want to explore the bare minimum. Even though the dance here is not at a breakneck pace, the images will imprint themselves on your brain forever:

MUSICALITY: I have often said that good choreography is the marriage of body, breath, and music. However, at times the musical accompaniment is a harmonizing compliment to the body's natural breathing. When you inhale and exhale, an audible rhythm is created. It is very subtle, almost silent...and yet, a rhythm with an assigned tempo is present. Sankai Juku relies heavily on this fact. Watch how the breath informs every movement they make. Nothing happens without the presence of breath...and this is the music that moves them. Its also important to point out, that this natural inhale/exhale is a kind of reverse action, yin and yang...an echo. Its not surprising then, to find that "Hibiki" is the Japanese word for "echo."

DANCER SYNC: Many of the movements in this piece would be considered "pedestrian." In other words, they use the natural range of motion and movement vocabulary that is available to the average person. Interestingly, many times people watch this kind of dance and say "well, what's so HARD about that...I could do that." Aside from the fact that dance is an art form and not meant to be a trick competition, the difficulty factors comes in with the synchronization of said "simple" movement between multiple dancers, commitment to the moment, and integrity of performance. The human body is fascinating even in its static form. Suffice it to say, while the choreography might not endanger the dancers' bodies in any way, Sankai Juku has found a way to sync these "common" movements in a way that is highly pleasing to execute.

AUDIENCE ENGAGEMENT: The measure of audience engagement is the ability to capture the viewer's attention and imagination. Using this criterion, Sankai Juku always succeeds. Even if the viewer is a bit confused as to what they are seeing, the point is that they are engaged by a visual stimulus so strong that it is nearly impossible to shift focus! Whenever Sankai Juku performs live, audience members will inevitably leave the show discussing the images and ideas they were exposed to. People will interpret the performance differently...and that is the goal.

KUDOS to Sankai Juku for having the courage to embrace the silence, speak to gravity, and using an "average" movement vocabulary to to create extraordinary pictures and concepts.

"Nonetheless"...Korhan Basaran

At SERVINGCHOREO, we strongly believe that choreography should be a seamless duet between body and breath, music and motion. This perfect symbiosis is in the spotlight when Korhan Basaran creates his phrases.


MUSICALITY: One of the major elements that distinguishes great classical musicians from technically proficient ones, is the ability to take a piece of music and breathe new life into it. The gift of interpretation is what separates the good from the great. Korhan is able to make a parallel statement in his choreography. He finds the moments in the music where his movement rides directly on top of the melody line. At other points, he is dancing in counterpoint to the musical phrase. His choice of Bach as the accompanying track is interesting in that the majority of Baroque music taps into this idea of two or more artistic, musical ideas moving in alternate, yet complimentary, directions. I watch his dance the way that I hear a prelude or fugue.

DANCER SYNC: While I am usually opposed to choreography that involves undue impact, when it is executed skillfully and safely, it can be particularly exciting. At 1:00-1:18, Korhan begins with a controlled impact to the floor. What follows though, is really quite stunning. The floor work is creative and finds interesting solutions to the locomotion challenges.

AUDIENCE ENGAGEMENT: I really like the way that Korhan emerges from the audience at the beginning. Its an interesting and captivating way to kick the piece into gear. By starting this way, the audience experiences the piece in a somewhat vicarious way, as if to say "he is one of us." The use of fall and release method, along with his wide legged straddle motif, creates continuity and rhythm within the movement, despite the track lacking an audible percussion.

KUDOS to Korhan for his hypnotic phrases, loose and fluid interpretation, and quality of composition.

"Panlong"...Phillip Chbeeb

As a dancer and choreographer working across different genres, I have particular respect and affinity for the work of hip hop and contemporary choreographers who allow their choices to be flavored by a wide spectrum of influences. Although, most people in the dance community would identify Phillip Chbeeb as a "hip hop" dancer, I find that his work, intellect, aesthetic is far more complex than the typical commercial street dancer. To me, Phillip's work has a maturity and artistic integrity that is rooted in hip hop culture, yet explores many other territories.


MUSICALITY: Of this work, Phillip has said that he "wanted to manifest the human persona of "Panlong," the coiled water Dragon from Chinese mythology. Attempted only with my movement to embody the entanglement, fluidity, and strength of this specific type of dragon." Choreography can have its genesis in a number of places. Most commonly, a choreographer will hear a piece of music that particularly inspires them to move and create. Other times, the movement choices are dictated by the costume and textural limitations(think about a Brazilian Carnival dancer or Vegas showgirl dancing with a massive feathered back pack and headdress). However, in this case, Phillip was motivated by a conceptual, thematic catalyst. Working in this way, finding the music to compliment pre-existing movement can be one of biggest challenges. In this case, Phillip ended up using a song that actually has an East Indian origin, but it sits on top of his movement phrases perfectly. Indian music has a vocal quality known as "Taan gesture," which to many people sounds like a cross between singing and ululating. This technique is very foreign to classical western singers, but works seamlessly with Phillip's movement. Watch his inventive footwork at 1:25-1:31, to see this in action. As his body undulates and recoils, the singer's voice constantly modulates pitch and mimics the visual dance form. Also, Phillip has a keen ear for syncopation, at 1:14-1:17 he could have easily barreled through the transition, but instead, placed the steps on the swing beats in the track...excellent choice.

DANCER SYNC: Phillip knows how to employ the body's structure to create surprising pictures and angles. While this may seem awkward to the casual viewer, dancers will tell you that the way that Phillip transitions in and out of these moments, are the key to doing a dance skillfully and avoiding a broken ankle. Phillip is careful to find the path of least resistance and maximum safety, yet never compromising the artistic innovation.

AUDIENCE ENGAGEMENT: On a directorial level, I appreciate the way Phillip introduces the piece and then builds tension. As opposed to simply dropping into floor work or throwing a wave, he takes his time and layers the anticipation and suspense. By the time the track drops into that dense, deep groove, the viewer is glued to the screen and ready. From there, Phillips sequencing and choices propel the piece and maintain the pace!

KUDOS to Phillip for weaving a variety of styles and techniques into a compelling piece, I expect to see very experimental fusion projects from him in the future.

"Lost In Motion"...Guillaume Cote

When someone like Guillaume Cote SERVES CHOREO, you know it's going to be unique and exquisite. I like to think of this particular video as a beautiful collaboration between a choreographer, cinematographer, and a technically refined dancer. As I have said before, it's important to draw a distinction between performance and choreography. In this example however, the choreographer is ALSO the performer, yet we must not confuse the dancer's ability with the actual choreographic choices made by Mr Cote.:


MUSICALITY: Although the video is edited at certain moments to maximize the emotional effect, the majority of the piece allows us to see the choreography as it was paired with the music. Mr Cote skillfully finds the simple moments that reflect the melody lines of the composer. For example, watch at 0:21 where the high note of the melody is matched by Cote's decision to pique in to a high releve sous sus balance(translation for non-ballet speakers LOL, "pique - pee kay" is to extend the foot out in front of the body and then shift the weight up onto this leg..."releve sous sus - reh leh vay sue sue" can be described as balancing on your tippy toes, one foot directly in front of the other).

DANCER SYNC: For me, I really appreciate Mr Cote's ability to work within the classical ballet vocabulary, yet never allows the technique to restrict his movement. Ballet technique is like a seatbelt in the car...it is meant to protect your body and extend the life of your instrument. Practicing proper technique, especially when executing advance dance maneuvers, is essential for avoiding serious injury. HOWEVER, its easy for that seatbelt to get SOOOO tight that is does not allow you to move, breathe, express, and feel. Everyone has had the experience of sitting in the backseat of the minivan in a seatbelt that is choking you to death....NOT COMFORTABLE. Watch at 0:23-0:27 and 0:39-0:41, notice how Mr. Cote is just as adept moving from a very classical, "held" position, to a rounded, organic, expressive shape.

AUDIENCE ENGAGEMENT: There are many visual elements here that were intended to grab the eye of the viewer! Even the most jaded, ballet-phobe will be mesmerized by the "matrix" moments where we get to see the airborne bravura portions in slow motion...if anyone doubts the "athletic" nature of dance, show them this video and they will eat their words. Choreographically, I like the ways in which Mr. Cote plays with our expectations. At 1:41, it looks as though he is preparing for a turn of some sort, and then suddenly he begins a low level floor sequence on his knees. For the audience, we are attracted to this little unexpected surprises and appreciate not knowing exactly what is coming next.

KUDOS to Guillaume for shattering the stereotype of the rigid, stiff, cardboard ballet dancer, who is only capable of moving though the requisite positions of the ballet syllabus. Through Guillaume's interpretation, ballet is alive, sensual, expressive and human.