A few days ago, I was privileged to attend a studio rehearsal/discussion of James Sewell Ballet’s Bud!, their upcoming spring offering, If you live in the Twin Cities area and you appreciate dance, go. If you live here, and hate ballet, go anyway. This ballet company honors the classical discipline of traditional ballet, while it simultaneously challenges and enhances it. Since it inception, JSB has promised to “expand notions about ballet and to perform work that challenged…physical limits…and that explore[s] the technical boundaries of ballet.” For the ballet/dance lover, there is a wonderful mix of traditional and non-classical movements. For those disdainful of ballet, these juxtapositions offer a dynamic excitement that is at the very least, unexpected. The energy and synergy create a special life in the company’s performances. Modern, angular, syncopated arm movements may accompany traditional leg and footwork, as the dancers flow through Sewell’s choreography. According to James himself, “this layered kind of movement has been a part of African and jazz dance and a number of modern techniques, it is not known for its expression in ballet.” Any performance of this artistic company is a delight, but seeing their newest dance, Air during its refining stages was even more of a delight.
Air is a result of the collaboration between James and exuberant composer Mary Ellen Childs. Since working together years ago in New York, they had looked for a way to collaborate once again. Their planned collaboration resulted in an NEA grant that allowed Childs to compose an artful environment for Sewell’s choreography. Neither artist needs the other, each perfectly capable of creating their own strong statement, but oh, are we fortunate that they enhance each other’s concepts so completely. When local vocal ensemble Cantus was brought into the mix (they will perform live amongst the dancers onstage at points in the piece), they made another innovative suggestion to Mary Ellen. Not afraid to stretch their own limits, they suggested a vocal performance without any text/lyrics. Having explored that concept earlier in her career, Mary Ellen was eager to delve further into that expression. The resulting piece, with tonal intonations and breath-work, became the impetus for a true collaboration amongst all of the artists involved. Mary Ellen felt there “must be an arc” to the piece; that arc ultimately inspired James’ concept for the vignettes onstage. The vocal artists challenge themselves with breath-work that is counter to their usual vocal techniques, as they also become “actors” in the narrative created by the choreography and the sonic environment.
This three-way marriage brings us the best of music, human movement as dance, and artistic storytelling. Watching the extremely talented dancers push their bodies to the limit, one appreciates their athleticism, their art, and most of all, their humanity. The experience is truly transformative and creates a true appreciation of creative thought and its implementation. James engages the audience before and after, enlightening, as well as asking for opinions. I felt truly fortunate to see “living art” at work. So, don’t make fun, but I honestly even had a “this is a great country” moment, as I was taken in by the wonderful opportunity that these artists have to truly work together and feed off of each other’s thoughts and expressions.
Spring, Air, and the fresh energy of the James Sewell Ballet welcome the eagerness that only the change of season can bring.
April 2-5 at O’Shaughnessy Auditorium.
1 comment:
I was searching for information on this performance and came across your thoughtful and beautifully written post, so much more informative than the review published in the paper. Thanks for sharing your experience. I can't wait to see the show tomorrow.
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