Category Archives: dance

COFFEE-HUGGER 2: FRENCH PRESS, Tribute to Eric Rohmer

Coffeecup

My concept behind the Coffee-Hugger series is to create short films based on the making of coffee. The idea is for the films to be amusing, personal and almost voyeuristic in nature, which is quite a departure from my usual work. “Coffee-Hugger 2: French Press” is the second in the series and the solo coffee maker is joined by another character, trumpeter and composer Tim Hagans. This short also tributes the films of Eric Rohmer, which are for me the essence of summer. If watching “Coffee-Hugger 2” inspires you to have a cup of coffee and watch a Rohmer film, then I have succeeded.

I am completely enamored of the films of Eric Rohmer and have been guilty of trying to disappear inside of them for years. No matter how many times I watch “Pauline at the Beach,” even though I realize that intellectually and artistically, the tale the filmmaker has told has come to its perfect ending, I am compelled to yell at the screen as Pauline closes the gate “No, don’t leave…why are you leaving?” and I turn to whomever I am watching it with and say “why are they leaving, I don’t understand why they are leaving?” Usually my viewing partner is Tm Hagans and luckily he loves Rohmer’s films and has patience with my asking him a question year after year for which there is no answer. So real is the film life for me that I can not bear for story to end, or really understand why anyone would leave life in that country house by the sea with its brimming hydrangeas, tranquil chair-creaking conversations about love, and bowels of coffee sipped in the garden.

When watching Rohmer’s “Le Rayon Vert,” I can not help but cry with Delphine when she encounters what she has been longing for throughout the entire film. The film takes its title from le rayon vert, which is a rare phenomenon in nature whereby the last ray of sunlight that the naked eye can perceive, the green ray, is visible briefly during the setting of the sun on a completely clear day. In the Jules Verne novel of the same name, the sighting of the green ray will result in the viewer knowing their true feelings and those of the people around them. This concept is discussed by characters in Rohmer’s film, overheard by Delphine, and incorporated beautifully into the narrative of the story. “Le Rayon Vert” is for me one of his greatest and truest films. I referenced it in an evening-length work I created in 2005 called Desesperadaos, a suite of tangos ranging from the gypsy to the avant-garde with music by Thomas Helton. The poetry in between the dances makes reference to the search for the green ray and the final movement was called “Tango Rayon Vert.” Rohmer’s spectacular film was subtitled “Summer” in English when released in North America, rather than “The Green Ray” which would be the literal translation of the French title. If you are looking to rent or purchase the film, it is listed under the title “Summer.”

For those readers who may be curious, and perhaps not familiar with Rohmer’s work, I have described some of the references below.

  1. The beautiful and plaintive melody played by trumpeter Tim Hagans is the song from “Pauline at the Beach” that all the main characters dance to at one time or another during the film. The music is uncredited in the film and I have never been able to find it anywhere else based on the album cover that appears briefly on camera…the title on the cover appears to correspond to a completely different piece of music. So it is quite a mysterious and magical fragment of music.
  1. The lovely hand written date cards, which Rohmer filmed and inserted to communicate the passage of time in many of his films, is tributed in the beginning of “Coffee-Hugger 2.” I chose August 5th because that is the day that Delphine meets someone very special in “Le Rayon Vert.” If you watch Rohmer’s date cards, there is a slight camera shake, which somehow adds to the sweetness of them, as if to let the viewer know that there is a living and breathing person that wants to tell them the story.
  1. Rohmer’s films are almost always filled with shots of people on vacation at the beach. If there isn’t the sea and sand and waves, it is almost not a Rohmer film. In addition to footage of people at the beach, “Coffee-Hugger 2” has some shots directly down into the water, tributing the beautiful shots in “La Collectionnuese” where the characters stare down at the seaweed and gentle waves as they ponder their relationships to each other.

There are also many tiny references, such as the hydrangeas which Pauline can not help cupping when she passes by, and the white bowls that hold the coffee. I welcome your communications on Eric Rohmer and his films. “Coffee-Hugger 2” is meant to inspire and share the discourse and love of the work of this amazing director.

 

Advertisements

Groove-Fish

Rufusweb

….. a pulse, a heartbeat, something breathing, that is part of us and we of it.

On April 23 & 24 the Michele Brangwen Dance Ensemble will premiere GROOVE-FISH, a new work for dancers and two double bassists written by Grammy-nominated composer and bassist Rufus Reid. Mr. Reid will premiere the work with MBDE’s long time collaborator, composer and bassist Thomas Helton. GROOVE-FISH is the second movement in UNSANTO, a series of works that explore changes to the food we eat and how they affect us.

In ancient Norse and Celtic mythologies, the salmon is a mystical fish that possesses incredible wisdom. It is represented as an all-knowing creature that acts as a guide to understanding and truth. In our current world, with our modern ideologies and our pragmatic tendencies, it is still impressive to know that salmon have the ability to return hundreds of miles exactly to the place where they were born in order to spawn, and do so with incredible accuracy.

Often referred to as Frankensalmon, GMO salmon, recently approved by the FDA, is a fat, bloated, genetically modified fish engineered for greater yield and not to reproduce, although this fish still has the ability to do so. Scientists the world over agree that it is not possible to fully contain GMO salmon and prevent them from mating with real salmon, making possible in future the extinction of both salmon and trout. The GMO salmon itself has been tested with higher levels of allergens and hormones, so its safety for consumption has not yet been determined; the testing of GMO products is not done by the FDA but rather by the companies who manufacture them. Two million people complained to the FDA following its approval of GMO salmon. Food & Water Watch just announced that it is suing the FDA on the grounds that they don’t really have the legality to approve a genetically modified living creature.

As I mentioned in my previous essay on SKAMATO, my work on the subject of GMO’s deals with the emotional and human impact rather than the specifics of the science. I feel it is our birthright as humans not to have a part of our natural world destroyed for the sake of profit. When we compromise those elements of our existence, we also compromise our internal life. Imagine a world without trout. One of the most significant works of literature for me is the Hemingway short story “Big Two-Hearted River” where the main character recovers from Post Traumatic Stress Syndrome by going trout fishing. I don’t need to be a fisherman to benefit by knowing the trout are there, to know that once a human being saved himself by understanding he was part of this amazing world and that it still existed.

Strangely and perhaps interestingly, I identify with real salmon under threat. In my own fragile ecosystem of art and culture, I see our transformative powers as performing artists, and the ability to heal and sustain the human soul, sagging under the weight of commercialism and a kind of adulation of populism and corporate marketing culture. As if art would do well to borrow ideas from its often sociopathic corporate cousin and shift its focus to making money and sustaining itself in the market place at all costs. This negates the entire purpose of art, which is to challenge, to inspire, to incite, to reach us through deep channels of emotion and thought. Art makes people smart. It exists outside the world of commerce for a reason: it exists for the benefit of humanity, not to profit from it.

Dance is perhaps one of the most non-sustainable art forms because of the many hours needed to prepare it. It often has its best impact in intimate concert hall spaces where the audience can be close. It’s also a fragile and difficult habitat for its inhabitants to navigate, requiring many hours to maintain one’s instrument, and a strong mind and focus, yet a vulnerable and open heart.

Rufus Reid’s music for GROOVE-FISH is intricate and changing, with sections that propel the dance forward with buoyancy and accent, and sections of a slow tenderness, but always with an underlying and soulful pleading. The sound of the two basses playing arco together in the ending of each section is intensely moving, as if it is the sound of the natural world breathing slowly and continuously, reminding us it is here. It reaffirms for me that no matter what goes on around us, these strange waters are where we as artists were born to be, and here we will stay.

The idea behind GROOVE-FISH is that beneath the surface of any community, there could be a stunning life force and energy that can nurture people far beyond what we think of as its boundaries. For me the dancers and the two double bassists in GROOVE-FISH represent creatures of a world of poetry, a world deep within our consciousness. These creatures communicate, through movement and music, a groove, a pulse, a heartbeat, something breathing, that is part of us and we of it. Intangible and subtle, and yet an essential part of our human existence.

As Arthur Miller wrote in Time Bends: “We are all connected, even the trees.”

The Michele Brangwen Dance Ensemble performs with special guest Rufus Reid. Saturday April 23 at 8 p.m. and Sunday April 24 at 3 p.m. MATCH, Matchbox 2, 3400 Main Street, Houston TX 77002. Click here for tickets and more info:https://matchouston.org/events/rufus-reid-premieres-groove-fish

The program includes SKAMATO. Read More about Skamato here.

The performance also include the TRAIL OF FORBIDDEN WORDS, and new music from the

RUFUS REID/TIM HAGANS quintet.

Performers for April 23 & 24 Performances:
RUFUS REID, THOMAS HELTON, double bass and Sousaphone
ROBERTA CORTES, ROBIN GILBERT, BRIT WALLIS, MICHELE BRANGWEN, dancers
TIM HAGANS, trumpet
SETH PAYNTER, saxophone
JOE HERTENSTEIN, drums and percussion

 

 

 

 

 

 

 

 

 

 

 

 

Women In Jazz, Dewey Redman & Sitatunga Dreams

KirstenJeff

ARTCAST SEASON 2, Episode 7: SITATUNGA. A new work from composer Mark Masters that tributes the wild and innovative spirit of legendary saxophonist Dewey Redman. Performed by the Mark Masters Jazz Ensemble featuring Kirsten Edkins, saxophone.

Mark Masters is a Los Angeles-based composer and conductor. He is the artistic director of the American Jazz Institute, a nonprofit organization dedicated to the enrichment and appreciation of jazz music. The organization presents concerts, makes recordings, offers workshops and scholarships to students, and also houses an archive of sheet music and recordings. They have collaborated with musicians such as Dewey Redman, Steve Kuhn, Lee Konitz and Andrew Cyrille.

Sitatunga is a composition by Mark Masters inspired by the innovative and exceptional spirit of saxophonist Dewey Redman. Mark worked with Dewey Redman on a series of concerts that featured Redman’s music arranged by Mark for large ensemble. He also heard him teach many master classes and workshops under the auspices of the American Jazz Institute. I first heard Sitatunga on a Mark Masters Ensemble CD, Farewell Walter Dewey Redman (Carpri 2008), that was recorded just after Dewey Redman passed away. Redman was scheduled to do this project and Oliver Lake stepped in to play saxophone on the recording. It was a recording of the large ensemble arrangements of Redman’s music that they had previously toured, with the addition of this one new composition by Mark Masters that tributed his much admired musical colleague.

When a musician plays, they either communicate through their instrument or they don’t. Age, color, and gender are all factors that have no bearing on the artistic statement. It so happens, however, that women in jazz are still a minority. When one experiences a saxophonist who plays like Kirsten Edkins, it’s exciting. It’s exciting because even though times are changing, a woman playing the saxophone is still not a common image on the bandstand. When a player as accomplished as Kirsten bites into a solo, the energy would be thrilling if she were any gender.

I first heard Dewey Redman, not performing, but speaking in an interview on NPR. He was telling a story about meeting John Coltrane for the first time. He explained that he had been working professionally and had a reputation as a musician. He said he had what he felt was an appropriate amount of ego. I appreciated very much what he meant by this. As an artist, it’s good to have humility, but one also has to guard against too much. You may have to really fight to make your creative statement. When Redman went to meet John Coltrane in his hotel room, he was so amazed by Coltrane’s complete lack of ego. He said that it forever changed him. For me, listening to Dewey Redman speak, I wanted to know his art. It started with the person and getting a feeling for how special, how open, how honest he was in his demeanor. I know that Mark Masters felt the same way about Dewey Redman.

A Sitatunga is a type of animal. It is a marsh buck…strong, elusive, unusual. Mark Masters had a dream after Dewey Redman passed that Dewey had turned into this magnificent animal and was running through the plains. We should all be so lucky to have such dreams. Maybe a few listens to Sitatunga will conjure them next time we sleep.

ARTCAST Season 2, Episode 7: Sitatunga will premiere on Sunday December 21 at 8 p.m. ET on youtube.com/brangwendance. Episodes are available for viewing any time after broadcast on Youtube.com/brangwendance or brangwendance.org