The Mariana Bekerman Dance Company is about to enter its 10th year of existence. Bekerman's last two works "Taro (2006)" and Shameless (2005)" premiered respectively at Joyce SoHo and the Merce Cunningham Dance Studio. Her latest dance "Black & White" will premiere this Saturday at the LaGuardia Performing Art Center.
Q1 (Chan): Briefly explain what "Black & White" is about. How did you come up with the idea for this latest new dance?
A1 (Bekerman): "Black & White" tackles universal issues of human existence such as power, death and celebrating life.
I was with guest choreographer Keiko Fuji after the 2006 premiere of "Taro" at Joyce SoHo. As we were walking, I specifically observed people of different races and classes. I thought--I'm going to make a work that looks at a diversity of cultures. I told her then my next work would be called "Black & White."
Q2: Talk a little bit about the fund-raising process to get your dances produced. Was the process harder for "Black & White" given the current economic conditions?
A2: Great volunteers have helped me with the fund-raising process, which is about grant proposals and appealing to potential donors. We plan to have an open rehearsal for supporters to see how we translate ideas into dance. Most small dance companies have difficulties when the economy "craters" to paraphrase Sen. John McCain. However, the Queens Council on the Arts rescued us once again.
Q3: Which composers' music did you decide to use in "Black & White?" Why those composers?
A3: I used both composed and prerecorded music for this project. In the suites with composed music, three wrote music to fit the ideas and moods of the dances:
Peter Sivalia composed two pieces. The dance suite called "Bashert" (a Yiddish word, which roughly translates as "fated") underwent many revisions. Pianist Colleen Jones will play live and improvise at the premiere so this score doesn't have to be hastily "done" before this Saturday.
I first heard and was impressed by the music of Icelandic composer Helgi Hauksson at the 2005 International Dance Festival held in NY. We each had our own works being performed on the same program. He sat next to me, small talk ensued and suddenly we decided to collaborate.
Thomas Taglienti is the dance company's music director, whom happens to be my husband. I had to employ him or I'd been sleeping on the sofa in our living room. Seriously, his musical tastes and sensibilities are close to mine.
The list of groups for the prerecorded music include: Popol Vuh (German rock band), Jamshied Sharifi (Iranian composer), Mickey Hart, Evanescence, The Chieftains (traditional Irish music group), Von Sudenfed (house/disco music) and Strawberry Alarm Clark (60's psychedelic rock band).
Q4: Describe one or two of the projected images you are going to use in "Black & White." Have you previously used projected images in your dances? If yes, will "Black & White" use the projected images differently?
A4: Four days away from the premiere and the images are still being created. I used projected images in my 2001 piece "City Life," but the images provided real-time counterpoint to the ideas being expressed by the dance. In "Black & White," projected images will open the show and appear between the dance segments. Essentially, the images add another "voice" or character to the dance.
Q5: Which is the riskiest of the seven dance sections that make up "Black & White?" Why is it the riskiest from a technical standpoint?"
A5: Which section has been disturbing my sleep? "Premonition." "Black & White" has been three years in the making, and "Premonition" has undergone several revisions because of the many cast changes over that time.
Technically speaking, it requires the dancers to enter their uncomfortable place. The seven vignettes vary in mood and content. "Premonition" looks to express fear, neurosis and the unknown--but I want it to be sexy at the same time!
Q6: Do the mix of students that you teach have any direct influence on the content of "Black & White?"
A6: Recently, I've been teaching special needs children. Their limitless imagination and the joy they take even in the simplest activities inspired the last section "Happy Happy, Joy Joy," featuring dancing chickens.
Q7: What qualities do you look for in a potential new dancer to the company?
A7: Emotional expressiveness first, then comes technique. A wide range--from classical dance to Hip hop, influences my work. So, I look for dancers that can hang with the various styles. I'm lucky with the current group who've worked hard and given me their talent, often with little to no monetary reward. Finally, they need to be a little crazy in a good way, if that makes sense.
Q8: Elaborate on your definition of crazy, but in a good way.
A8. Someone with a strong personality, an improvisatory dancer, but also a person with a professional work ethic. I love stealing the "mistakes" of such dancers and then incorporating that into the choreography. Also, I'm not the easiest chick to deal with, so good crazy type dancers can cope with my varying moods.
Q9: What do you hope the audience takes away from "Black & White?"
A9: I want to take them on an emotional journey. To have audience members look into themselves as they watch the performance...then leave the theater inspired to improve their own lives, which hopefully leads to an improvement in a little corner of the world.
"Black & White" premieres this Saturday at 8 p.m. at LaGuardia PAC. Address: 31 - 10 Thomson Ave., Long Island City, Queens. Tickets: advance $15; door $20.
Comments
great piece about an extraordinary artist. can't wait to see Black and White!
Go see it!
Got something to say?
Examiner.com is looking for writers, photographers, and videographers to join the fastest growing group of local insiders. If you are interested in growing your online rep apply to be an Examiner today!