Los Angeles Ballet has an event called Choreographic Workshop on April 18 and April 19, a dance performance where LAB dancers produced movements for and with LAB dancers.
Two things coming up at 24th Street Theatre, with music: May 10 will welcome The Get Down Boys and May 17 will welcome Los Pinguos.
To celebrate their 25th bithday, Highways—the historic performance space—is having a jubilee on May 2 and May 3. Beyond that, Victoria Marks will be there to present a new choreographed work on May 23 and May 24.
After enduring Trajal Harrell’s Antigone Sr./Twenty Looks or Paris is Burning at the Judson Church at REDCAT on April 3rd, I felt gutted, empty and sad. I was nauseous for being reminded of our human condition; trapped as opposites and the same; responsible for each other, connected by atomic fibers as symbiotic memes. Going into the black box, I wanted to pretend I knew nothing about Mr. Harrell’s creative intentions.
But NOOOO, in case you didn’t get a program from the cardboard box in the shadows at the door, Harrell felt the need to explain the Antigone/Harlem Balls/downtown pedestrian theater connections prior to the start of the performance and apologized(part of the piece?) that the lighting designer was in Belgium and that there might be mistakes despite the stand in lighting designer from Brest being present. I wanted an authentic, non-insider art viewing experience without the tropes of meaning nor histories. I was in the wrong place at the wrong time.
The life of an airdancer must be an isolating one. They work all day in front of car dealerships and tax preparation stores, waving to all who pass. They never stand still long enough to make eye contact with their viewers and they are always are in motion. They have a delicacy to them, a buoyancy that can’t help but draw a smile to the face of viewers. They’re fascinating—and they have an untapped potential.
The Industry‘s Creative Director Yuval Sharon saw this as he was listening to Terry Riley. As the story goes (which was explained at the Made In L.A. preview), Sharon was driving and listening to Riley’s minimal pioneering “In C” when he stopped at a stoplight and caught an airdancer moving along to the music. Sharon called up Riley and explained that there was something to this and they had to make something out of it. The concept was pitched to the Hammer and the result was this past weekend’s performance installation of IN C. It was an immersive spectacle that really could move a person to tears: it’s minimalism’s simplicity that makes IN C so powerful.