Dance Final Summer Solstice Festival Research Paper

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Dance Final

Summer Solstice Festival

Ideally, this festival will take place during the summer solstice. The solstice is generally regarded as taking place on June 21. Due to popular demand and the intense international reputations that Davis Jr., De Keersmaeker, and Baryshnikov have garnered during so many years of enchanting audiences, the festival will take place during a three-day span -- from Friday through Sunday -- beginning on the 19th and culminating on the 21st. The three days will allow each of the choreographers to open and close the show. On the 21st the De Keersmaeker will open the event, followed by Davis Jr. with Baryshnikov as the headliner.

The festival will be held in Oakland, California, at Woodminster Amphitheater at the base of the Montclair section. Although this venue is relatively small, it is nestled within Joaquin Miller's park and rests at the summit of a man made waterfall. Moreover, it frequently plays hosts to a variety of musical and theatrical performances during the summer. Although the Amphitheater only holds a couple of thousand people, the event will be available on closed-circuit television to accommodate a wider viewership. The first performer will go on at approximately 6:30 P.M., with the following performer's routine climaxing near twilight. There, in the outdoor theater beneath the gleaming gaze of the stars (not all of which will be stationary), the headliner will perform. The outdoor setting will allow for a combination of conventional theater performances and site-specific ones.

Of all the dancers in my festival, the one who needs the least amount of introduction is Mikhail Baryshnikov. For the initiated, his name alone on a press release is enough to bring the audiences out. For the uninitiated, the release would emphasize his classical ballet training in Russia in which he was able to study under the legendary Aleksander Pushkin before performing as a soloist for the international Kirov Ballet (Abhinav). Not only was Baryshnikov so talented that he did not have to wait the typical apprentice time to perform as a soloist, he also had ballets created and choreographed especially for him. Baryshnikov also had a lengthy history of choreographing and dancing with reputed ballet companies in the U.S. such as the American Ballet Company, and brings a degree of athleticism and grace to his performances that are inspiring.

Baryshnikov's movements are august. At his prime, his leaping ability allowed him to soar among the clouds (momentarily) before rejoining the rest of the dance world. He is able to combine such physical prowess with a refined grace indicative of his formal ballet training. In more recent times, Baryshnikov's production companies have explored modern dance themes such as mysticism and music visualization. However, his more popular choreographed pieces remain classical ballet, and include The Nutcracker and Don Quixote. Since Baryshnikov had to defect from Russia in order to perform dances to different styles of music and movement in the U.S., there is a bit of liberation involved in all that he choreographs and dances now. By initially leaving Russia and joining the U.S. To pursue a more expansive, liberating dance repertoire, Baryshnikov and his work stand for freedom of choice and expression.

Mikhail Baryshnikov / Photo: Biography.com http://www.youtube.com/watch?v=QB3hX6r99hg

Mikhail Baryshnikov -- Don Quixote Pas De Deux. Youtube. June 12, 2007, retrieved May 5, 2013.

In writing a press release regarding Sammy Davis Jr.'s participation in a dancing festival, I could certainly galvanize audiences by discussing his versatility and many accomplishments. Davis Jr. began dancing professionally at the age of three, and endured a lengthy, 60-year career in which he garnered national and international acclaim not only as a tap dancer and choreographer, but also as a singer, actor, musician, and impressionist/comedian. His inclusion into one of the most exclusive societies of elite entertainers in the 20th century (the Rat Pack), alongside other notable performers such as Frank Sinatra, Dean Martin and Joey Bishop, solidified his status as one of the preeminent performers of his day.

One of the most delightful aspects about Sammy Davis Jr.'s tap dancing choreography is the fact that it is based on rhythm and music provided by the human body itself. As such, his movements bring music to life through his own dancing and the specific striking of his shoes on to the surface of the floor. This type of tap dancing is known as rhythm tap (as contrasted with Broadway tap in which dancers tap to the music of orchestras), and is exciting because dancers both create and dance to their own music. In this respect, Davis's numbers continue the tradition of hoofers, those who dance loudly with their legs in order to provide their own music (Lowe).

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Although many of Davis' performances incorporate singing, dancing, comedy, and some level impressions/comedy, it is important to realize that in many ways, his style of tap is akin to jazz. His pieces have a definite structure, part of which allows for improvisation in order to present a unique performance regardless of a specific dance number. Thematically, Davis's work utilizes myriad forms of expression in the forms of singing, musicianship (he played the trumpet, drums and vibes), and comedy to entertain audiences. As a dancer who came to national prominence during the 1950's and 1960's, Davis' work was instrumental in helping to reduce racial segregation. He refused to perform at venues in which African-Americans were not permitted, and was instrumental in converting several such establishments (particularly in Miami) (Hill) to allow for integration.

Sammy Davis Jr. / Photo: American Tap Dance Hall of Fame

http://www.youtube.com/watch?v=uXDSeiHSRcc

Sammy Davis, Jr. Tap Dancing at The Palace Theater in New York Displaying Amazing Skills. Youtube.com Sept 12, 2011, retrieved May 5, 2013.

For the most part, the choreographers present at this festival will present repertory works, ideally the ones that people know them for the most. Since one of the points of the festival is to bridge various types of dancing styles and music with one another, it would be best for the choreographers to present their signature pieces. In the case of De Keersmaeker, that would be "Rosas Danst Rosas" -- a number which bears a remarkable similarity to Beyonce's video for the latter's song "Countdown." The former's is an exciting piece of modern dance that first gained popularity in the 1980's and still resonates with audiences (and apparently performers), today.

It would be best if Baryshnikov performed "Don Quixote," one of his two signature pieces as a choreographer for the American Ballet Company. The other, "The Nutcracker," would not be appropriate for the first day and night of summer. Don Quixote is an excellent choice since it actually features Baryshnikov performing in it, and is one of the mainstays of the tradition of classical Russian ballet that he descended from. Davis Jr. would be the lone performer that could premier a particular work, simply because of the highly improvisational nature of tap dancing -- especially the type that he excelled at. Plus, the amount of versatility he brings to his stage show, which includes comedy and singing, typically works best when audiences do not know what to expect.

The interactive experiences of the master classes would be one of the most anticipated parts of the festival, which would begin around 2 p.m. That way, each of the choreographers would have approximately an hour and 20 minutes to spend interacting with audiences and teaching them some basic maneuvers. Also, this would give audiences a chance to talk to these legends and get some first-hand experiences and stories that they otherwise might not get. The choreographers would appear and speak/teach in the order of the festival itself, to give them suitable time for their performances.

Extra Credit

Nicole's festival notice had some really good points. For instance, I was unaware that Bill Jones provided such detailed narrations of his dances that included bits of history.

The information her entry on Carlos Blasis contains about spotting is very interesting. I've often wondered how dancers don't get dizzy while spinning around; now I know.

I've heard of "The Nutcracker" credited to many different directors, but was unaware that George Balanchine innovated this time-honored opera.

Shaina's festival contained good information about Ohad Naharin and his innovation of the movement known as Gaga. Based on her description of it, it sounds like an example of onomatopoeia.

I think it's very impressive that although Naharin has a big following in Israel, he actually received formal dance training at New York's Julliard school.

There appears to be an interesting connection in the theme of humor in Naharin's work and Gaga, which may appear funny to those who are unfamiliar with it.

I was quite impressed with Kyla's description of all of the contemporary artists -- dancers and otherwise -- that Fatima Robinson has worked for. She must be extremely popular.

I've seen Michael Jackson's "Remember The Time," and I remember the choreography was very detailed and a huge part of that video. I never knew who did it until I read Kyla's….....

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