November 12, 2001 |
And God said, "Let there be trampolines" ... in order, perhaps, for Hae Kyung Lee and Dancers to perform the whimsical, mind-bogglingly athletic "Shadows of the Spirit" at Japan America Theatre on Saturday night.
April 15, 1991 |
Although the entire repertory of the Pacific Dance Ensemble, a three-year-old company directed by Danielle Shapiro, consists of new works from various choreographers, new and innovative were hardly the bywords of the mixed bill presented at Cal State Los Angeles during the weekend. However dissimilar in style, the three premieres on the program suffered from the uneven skills of the ensemble as well as a lack of choreographic invention.
March 13, 1995 |
Nothing in Hae Kyung Lee's Cal State Los Angeles program on Saturday proved more exciting than the opening--Miguel Olvera crouched on the extreme right of a big, dark, empty stage just behind an intense vertical shaft of light, accompanied by the apocalyptic music of Steve Moshier. As Olvera ever-so-slowly rose to his feet and Stephen Bennett's lighting ever-so-slowly brightened, the sense of expectation skyrocketed.
January 22, 2004
MARIA GILLESPIE Her dancing can veer from swift and hummingbird-like to meltingly graceful in a heartbeat. Since relocating from New York to Los Angeles in 1996, the petite, 32-year-old Gillespie has been making a name for herself in modern dance as a performer, choreographer and teacher. Last year, she received two Lester Horton Dance Awards for individual and small ensemble performance for her work in Victoria Marks' "Against Ending."
November 30, 1997 |
"It's like the Oscar of contemporary choreography," says performing arts presenter Jordan Peimer, of the Prix d'Auteur, the award handed out by the French biannual dance competition called Rencontres Choreographiques Internationales de Seine-Saint-Denis. That's not a name that exactly rolls off the tongue, and the competition is more commonly referred to as Bagnolet, after the city at the end of Paris's No.
June 19, 1995 |
Named after the Los Angeles-based modern dance pioneer who died in 1953, the annual Lester Horton Awards celebrate excellence in local concert-dance through voting by the membership of the Dance Resource Center service organization. On Saturday, the Japanese American Cultural and Community Center hosted the fourth awards ceremony, with honoree Bella Lewitzky honoring Horton during the acceptance speech for her sustained achievement honor and reminding everyone that "this remarkable man . . .
April 24, 2000 |
There is always a line of people waiting to get into the "Friday Nights at the Getty" dance series, which now runs every weekend until May 19. It could be because it's free, but sometimes you can't give modern dance away, so specialized is its audience. Museum-goers, however, might be ready for bodies that move after the splendors of fairly static art and architecture. On Friday, Hae Kyung Lee and Dancers were a good match for the Getty, since they featured majestic lines and sculptural depth.
April 20, 1998 |
Call it L.A. Modernism 101: the program of pieces by some of this city's most active and distinctive choreographers performed by the University Dance Ensemble of Cal State L.A. on campus Friday. Newly commissioned works by Loretta Livingston, Wininfred R. Harris, Tim Miller and Hae Kyung Lee challenged the audience as well as the student and part-time faculty dancers while reminding everyone how central CSULA has become to the Southland dance community.
July 23, 1996 |
Modern dance was the first movement form to exalt individual expression--indeed to insist on it. But when a dance fails to offer viewers a way inside, it becomes a coded message: meaningful to insiders, a riddle to everyone else. Dance Kaleidoscope '96 has been full of such dances, with an 11-part program at Loyola Marymount University on Sunday adding its share.
July 24, 2000 |
It was far more than a trip down memory lane when 32 dancers spoke about their lives in "The Horse's Mouth Greets the New Millennium" Saturday at the Japan America Theatre. Sure, every 90-second anecdote in this "live documentary" created by Tina Croll and James Cunningham revealed an interesting part of the dancers' lives, sometimes hilariously, sometimes touchingly. We got to know, appreciate and embrace them more and in a different way than when they danced later.