"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.

"I Was Just A Card"...Kate Jablonski

Although it may seem as though there is a dearth of good web choreo at times, it is primarily due to the flood of half-baked, under-cooked, amateur material that is floating around. I had initially planned on featuring a choreographer's work only once, to highlight the breadth and spectrum of quality work that can be found online. However, when I saw a recent posting by Kate, I realized that I my plans would need to be reexamined. This girl is a gift to the dance community...online and off. What she is bringing to the table, in terms of reevaluating the truly important aspects of dance education, is revolutionary. She is proof positive that kids are capable of using dance to make important artistic statements. Her students understand that dance is far more that trophies, dance moms, competitions and ribbons. She is not churning out trick monkeys and spin junkies...she is fostering the growth and evolution of tomorrow's ARTISTS...bravo KJ&BW:


MUSICALITY: A novice talent would be tempted to take a literal approach to the lyricism of the track. But Kate's aesthetic is neither novice nor typical. She choreographs to the actual timbre and tone of the singer's voice. Watch at 0:44-0:51 how the choreography augments the lilting vocal pattern with pendular, swinging motion. This quality of movement is then punctuated by more linear gestures when the vocalization shifts to the staccato phrasing. Kate's work has a sophistication and subtlety that many choreographers lack. For example, at 2:32, she highlights a single snare tap with an isolated jab to the side. When it is done in unison, and following a moment of calm stillness, it is unexpected and electric.

DANCER SYNC: I have never seen a piece of Kate's work that made me question the safety or health of her dancers. She never puts them in harm's way by asking them to do something that is going to cause long term damage. For many choreographers, partnering is an area fraught with potential hazards. I have personally seen dislocated shoulders and concussions occur because some idiot-ographer decided to "get creative" and just have their dancers "go for it." However, Kate's partnering is both FULLY SAFE and FULLY INVENTIVE. All of the lifts have been carefully manipulated for constant connection between the base(s) and the flyer.

AUDIENCE ENGAGEMENT: If I were to list all the engaging elements of this piece, which add to the complexity and texture of this work, I'd be here all night! So a few of my favorites will have to suffice. First of all, I love the interplay and visual impact of the contrasting skin tones in the opening sequence. By focusing our eyes on the hands, fingers and arms, we key in on the light and dark hues of the two principle dancers, thereby foreshadowing the struggle to come. Secondly, she isn't afraid of repetition and understands that this is a structural concept that resonates deeply with the viewer. At 1:44, Kate revisits her first choreographic motif, but from an alternate side angle. The first time we see the motif, the dancers are frontal and then angled toward each other, but the second time we see it, they are at combative and diverging. And in this way, the audience understands that there is both a progression and cyclical nature within the passage of time. Finally, I really appreciate how she incorporated the corps dancers into a piece that began as a duet. In Greek theater, there was a chorus that would provide commentary and emphasis to the action on stage. In a similar way, the ensemble dancers are fully integrated into the action, without ever pulling focus from the principle dancers...a very challenging feat to achieve, and Kate does it masterfully.

KUDOS to Kate for transcending the typical studio model, and embarking on a new direction in dance education...I predict that someday we will be interviewing numerous acolytes who grew up under Kate's guidance and mentoring.

"Le Balon"...Junior Almeida

Junior Almeida is a choreographer who uses the body as an instrument, it has percussive qualities like a drum, it has lyrical qualities like a violin, and when it is appropriate, he can blast you with movement that looks like the pop of a trumpet...he is music in motion:

MUSICALITY: Junior's history as a "perform-ographer" is legendary. He is considered one of the founding members of the Parisian hip hop community. If anyone knows and appreciates the history and culture of French hip hop, it is this man. Consequently, every nuance of his movement is informed by this history. When an artist studies and understands how and where his art form originated, the musicality of the resulting choreo is flavored and complex.

DANCER SYNC: If you ever have the opportunity to study with Junior, you will very quickly realize that his movement were made for the dancer, not the other way around. It does not suggest that they are "easy" or "less challenging" in any way, but rather, they are always rooted in the body's natural tendencies. Science tells us that the human body is roughly 60% water...and now watch Junior's ability to translate this fact into actual gestures in his spine, shoulders, and arms.

AUDIENCE ENGAGEMENT: In this example, Junior has decided to incorporate at prop into his choreo. What gives the piece dimension, is his ability to imbue the inanimate object with a spirit and soul. Through Junior's manipulation, the balloon becomes his accomplice and counterpoint, creating a wordless dialogue between two "friends." See if you, as a viewer, can guess what is being said between them.

KUDOS to Junior for exploring the dynamic between the living, breathing organisms of the human body, and the structural, architectural features of an unlikely partner!