Lar Lubovitch at ADF: Beyond Beauty lies the Sublime


Attila Joey Csiki and Tobin Del Cuore in Lar Lubovitch’s Concerto Six Twenty-two. At ADF, 7/11/16. Photo: Grant Halverson.


I’m addicted to beauty. I need it like I need freedom, and rarely can I get enough. But Lar Lubovitch ladles it out in every dance. The American Dance Festival presented him with the Scripps/ADF Award for Lifetime Achievement, and he presented us with an evening so replete with beauty that even I was filled up to my eyeballs. You can listen to Lubovitch’s fine acceptance speech here.



George Shevtsov, piano, and Kristen Foote dancing in Lubovitch’s Scriabin Dances. At ADF 7/11/16. Photo: Grant Halverson.


From my review on

“Highly musical, Lubovitch unites his dances with their music – no working against the music, or without it, for him. His tastes are eclectic, ranging from classical to Glass, and on to newly commissioned music. The program at ADF gives a sample. The first half is comprised of four short works or excerpts from longer works and the second half was given over to one long piece. Presumably, all these offerings are ones Lubovitch considers among his best work.

Certainly, they are all ravishingly beautiful as performed on July 11. The program opened with North Star, 1st movement (1978) set to Philip Glass’ “North Star.” Nine men circle and weave in the dusk, wandering, searching, crossing, winding, pressing onward with all the certainty with which Lubovitch imbues his movements. In his work every thing is big and bold, yet there’s room for the delicate detail, the little frisky bits for hands and feet. And the lightness – you never hear the dancers’ feet thud on the floor. It’s as if, when they jump, which they do often, they land without their weight, giving the sensation that only the skin of foot-soles touches earth while the rest of the body hovers above, always ready to fly. I think this is what people mean when they say his work is “rhapsodic.””



Exquisite tragedy in “The Final Reckoning” from Lubovitch’s Othello. Danced by Victoria Jaiani and Fabrice Camels, at ADF 7/11/16. Photo: Grant Halverson.


The Lar Lubovitch Dance Company features some of the best dancers working, and the dancing is superb throughout this program, which repeats tonight at the DPAC. Read my full review, but in the meantime, take a look at these. The inclusion in the program of Men’s Stories: A Concerto in Ruin was planned long ago, but it was apt for this historical moment. After having Jonathan Bachman’s photograph of Ieshia Evans imprinted on our collective brain, it is good to be reminded that men in black are not all bad.



Men’s Stories: A Concerto in Ruin, by Lar Lubovitch. At ADF 7/11/16. Photo: Grant Halverson.

Ieshia Evans, Baton Rouge, 7:9:16.  Photo: Jonathan Bachman:Reuters.jpg

A beautiful woman but not a beautiful dance: Ieshia Evans faces the men in black, Baton Rouge, LA,  7/9/16. Photo: Jonathan Bachman/Reuters.



ADF: Ballet Preljocaj

Ballet Preljocaj. Photo:©JC Carbonne.

Ballet Preljocaj. Photo:©JC Carbonne. The Durham production features other dancers.


The seriously wonderful French company Ballet Preljocaj takes the stage again tonight as the American Dance Festival continues at the Durham Performing Arts Center. A few people walked out, but most of the audience was amazed and delighted by the first-anywhere performance of the full suite of Angelin Preljocaj’s Empty Moves, parts I, II, III. It fascinates on many levels, and the dancing is very fine.

Before the performance last night, Angelin Preljocaj accepted the 2014 Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, with its “Sammy” statuette and $50,000 check. He slipped between the curtains and up to the microphone in a slim-cut gray French suit and white sneakers, looking like an elf from a modern fairytale. After noting his gratitude to a various people, he looked up at the audience and said: “to see the list [of former reward recipients] was amazing…all those people were heroes to me!” Then he coyly thanked his mother and slipped back through the red velvet, all through talking. He reappeared during the extended ovation after the dance, to kiss and hug his dancers. They deserved it.

From my review was published June 12, 2014 on with the title “A Suave Mousse of Motion: Ballet Preljocaj at ADF.”

July 11 marked the first US presentation of Empty Moves, part III (2014), and the first anywhere of the entire sequence (part I, 2004; part II, 2007). There’s nothing empty about it. It is empty the way a Zen tea bowl is empty—it holds everything. However, Empty Moves is abstract, it is an abstract of something greater. Its 90 minutes of flow illuminated onstage is not really extracted from the great flow of motion and words that goes on forever and ever, amen.

Read the full review here.

Moonglow and Fireworks: ADF’s 80th Season Closes Tonight

At the beginning, it seems so luxuriously long. But each year on the final weekend, the American Dance Festival season feels painfully short. The ADF’s 80th season–its 36th in Durham–ends tonight at the Durham Performing Arts Center with the second performance of a beautifully constructed program featuring a spectacular ending.

It won’t be quite the same as the 26th’s, when the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement was presented to Lin Hwai-min, choreographer and founder of the breathtaking Cloud Gate Dance Theatre of Taiwan. Another appropriate adjective for Lin Hwai-min’s work is “humane.” His choreographic language is most definitely not American: it comes very close to being universal. The award, with its $50,000 check, was presented by Joseph V. Melillo, executive producer at the Brooklyn Academy of Music, who met Lin Hwai-min by chance in Bali in 1990–“and beautiful things for both of us came out of that meeting.” Lin Hwai-min gave the most graceful acceptance speech I’ve ever heard. Here are the highlights.

Lin Hwai-min, 2013 Scripps/ADF Award winner at the ceremony, 7-26-13. Photo: Grant Halverson.

Lin Hwai-min, 2013 Scripps/ADF Award winner at the ceremony, 7-26-13. Photo: Grant Halverson.

“This is an enormous encouragement, especially for a person who did not begin taking regular dance classes until he was 23,” said Lin Hwai-min, going on to note that he had been inspired by the famous John F. Kennedy quote (“Ask not what your country can do for you…”). “There was no Taiwan modern dance company, so I started one.” That was in 1973, and in 1978, he came to the ADF for the first time, in its first year in Durham. “The biggest thing I learned in 1978 was that I could do anything but American modern dance!”

“Running a dance company is tough anywhere,” he said, “but an award like this, a gesture like this, will sustain me for months.” He then went on to tell a moving story about a crucial incident early in his company’s life. “I first met Miss Graham [the great Martha Graham, priestess of high modern dance and a co-founder of the ADF] when her company visited Taiwan in 1974…’What am I going to do with Martha Graham in my own studio?’ I asked myself. I did what only the bravest, youngest would do–I held a Graham Technique class!”

Miss Graham, he said, was happy, and praised Lin and the company, which was just a year old. Imagine what this must have meant to them. Lin took her to the airport, and before she departed, she told him that many had helped her when she was starting out, and pressed into his hands a pile of Taiwanese money, “for your rainy days.” And now, Lin said from the podium, he would give his award money to Cloud Gate for a special project to nurture younger dance artists. A man worthy of honor, indeed.

Chou Chang-ning of Cloud Gate Dance Theatre performed a solo from Lin Hwai-min's Moon Water. Photo: Grant Halverson.

Chou Chang-ning of Cloud Gate Dance Theatre performed a solo from Lin Hwai-min’s Moon Water. Photo: Grant Halverson.

An exquisite example of Lin Hwai-min’s work opens the dance program. Chou Chang-ning of Cloud Gate dances a solo from Moon Water (1998), to the Sarabande, Suite No. 1 in G Major (BWV 1007), from the Six Suites for Solo Cello, by J. S. Bach (the Mischa Maisky DG recording). It is an expression of the duality within wholeness–the dancer moves in a private meditation, untouchable, unreachable, but which we can see like we see the moon’s reflection in water. The reflection is not the moon, but it brings us closer to comprehension of the moon. The moon we see in the sky is too far, too separate; we know her by her actions as she throws her light onto water. The dance is not the dancer, but without her the dance cannot be known. The dancer is not the dance; she is as contained and apart as the celestial moon, but with her graceful motion she lures us toward the enlightenment conjoining shimmering illusion and  dark substance.

There follows a reconstruction of the “Helios” section from Martha Graham’s Acts of Light (one of ADF’s lesser-known roles is that of restorer and preserver of modern dances that have almost gotten away), danced by students from the ADF School. In their golden unitards, in golden lighting (Beverly Emmons, recreated by David Ferri), the young dancers are like sunflowers: sprouting, burgeoning, turning, flowering, dying to sprout anew. There were some roughish moments in the ensemble, and one dancer who looked like he might be falling ill, as he was distractingly out of synchronization and clearly having balance problems, but the dance itself is charming and enlivening, and one feels grateful it has not been lost in the dust of history.

From the reconstructed "Helios" section of Martha Graham's Acts of Light, performed by ADF students. Photo: ©Grant Halverson/ADF.

From the reconstructed “Helios” section of Martha Graham’s Acts of Light, performed by ADF students. Photo: ©Grant Halverson/ADF.

Next comes a reconstruction of a quirky Bill T. Jones dance from 1992 (how quickly dances can be lost!), Love Re-defined. It is restaged here by Leah Cox, who was a very memorable member of the Bill T. Jones/Arnie Zane Dance Company last decade. She has gotten great dancing from the 10-member ensemble who zip through the strange little love-story vignettes with verve. Whether making the angular ideograms or performing the elastic partnering of Jones’ style, the dancers are right on it. The work is set to strange poetic lyrics and music by Daniel Johnston, and the dancers seemed particularly strong during the long involved song about the king–King Kong (he loved his woman).

ADF students in Bill T. Jones' Love Re-defined, in the FORCES OF DANCE program. Photo: ©Grant Halverson/ADF.

ADF students in Bill T. Jones’ Love Re-defined, in the FORCES OF DANCE program. Photo: ©Grant Halverson/ADF.

The finale of this intriguing season is a new work by Twyla Tharp, which had its world premiere July 26. The ADF commissioned Treefrog in Stonehenge, with its original score by David Kahne, to be set on ADF students, and it is staged here by Rika Okamoto and Alexander Brady, both former Tharp dancers. How wonderful is this? Not only does the ADF preserve old dances in new young bodies, they commission new artwork for new dancers. And  Treefrog in Stonehenge is not a minor work, but a large, increasingly complex multi-section work for 16 dancers, larded with references to and quotes from many dance styles and particular choreographers, in addition to Tharp’s own inimitable inventions. All of the very advanced students excelled at Tharp’s demanding athleticism, moving patterns and split-second timing at break-neck pace. The entire troupe was electric, sizzling with the joy of a difficult endeavor going very right, but Ben Ingel, a member of North Carolina Dance Theatre 2, was gasp-inducing in his high leaping turns. After “Helios,” it was impossible not to think of Icarus. Ingel was flying, burning like a Roman candle, but he landed as gently as a spark–no crashing to this burn. (I shook his hand afterward. It wasn’t even hot, but it did smell mightily of Tiger Balm.) What a wonderful close to the American Dance Festival’s 80th season of bringing better living through dance.

ADF students gave Twyla Tharp's Treefrog in Stonehenge its world premiere at the DPAC, 7-26-13. Photo: ©Grant Halverson/ADF.

ADF students gave Twyla Tharp’s Treefrog in Stonehenge its world premiere at the DPAC, 7-26-13. Photo: ©Grant Halverson/ADF.

The program repeats July 27 only, but it will be possible to see Ingel in Charlotte next season in NCDT II performances. Cloud Gate Dance Theatre of Taiwan will appear in April, 2014, when Carolina Performing Arts will present Songs of the Wanderers in Chapel Hill.

Ocracoke Observer

Community newspaper of Ocracoke, NC

David Cecelski

New writing, collected essays, latest discoveries

Piedmont Trails

Genealogy and History in North Carolina and Beyond

Piedmont Laureate

Promoting awareness and heightened appreciation for excellence in the literary arts throughout the Piedmont Region

Gilbert and Sullivan's "Patience" -- Director's Blog

a countdown to the next performance, March 26-29, 2020

North Carolina Preservation Consortium

Preserving tangible and intangible heritage of enduring value

The Bamboo Wind

Sculpture & Video Poetry


A topnotch site

peter harris, tapestryweaver

TAPestry And DESIgn

Backstrap Weaving

My weaving , my inspiration, tutorials and more........

Social Justice For All

Working towards global equity and equality

Not At Home In It


inkled pink

warp, weave, be happy!

Peggy Osterkamp's Weaving Blog

"Weaving should be fun!"


Studio Life of a Weaver, Spinner, Dyer

Linda Frye Burnham

Writer and poet

The Upstager

All the world's an upstage.

Literary Life in Italy

Looking at Italy through literature

%d bloggers like this: