Ephrat Asherie Dance Mixes Choro and Street Dance in Philadelphia

Last night, February 8, 2020, Ephrat Asherie Dance performed “Odeon” at the Zellerbach Theatre at the Annenberg Center in Philadelphia. The production was presented in coordination with Next Move Dance and opened on Friday February 7.

I was interested in attending this performance because of the music. “Odeon” is the title of Ernesto Nazareth’s most famous composition. Ernesto Nazareth is well known in Brazil in the context of 19th and early 20th century composers who were the foundation of Brazil’s samba. Along with Francisca “Chiquinha” Gonzaga, Antonio Callado, Pixinguinha and others, Nazareth improvised in choro ensembles, and composed maxixes (Brazilian tango) and other forms. Nazareth was trained in European music, as were many of his contemporaries in Rio de Janeiro, but combined this with popular and contemporary rhythms (of Afro-Brazilian influence), to create a “Brazilian” national (popular) music.

The performance of “Odeon” by the dance company, was energetic, upbeat and fun. At the very beginning, it was announced that the choreographer, Ms. Ephrat Asherie, herself, wanted the audience to “relax, enjoy and respond.” And that we did! The company of six dancers, (Manon Bal, Teena Marie Custer, Val “Ms. Vee” Ho, Matthew “Megawatt” West, Omari Wiles, and Ephrat Asherie) interpreted a joyful program, full of exhilirating interactions to live music. The instrumental ensemble included Ehud Asherie (music director and pianist, and the choreographer’s brother), Eduardo Belo (bass), and percussionists, Sergio Krakowski, Vitor Gonçalves and Angel Lau.

Ephrat-Asherie-Dance-Odeon (1)

Photo Credit: Matthew Murphy

The musical selections included: Brejeiro, Odeon, Fon-fon, Tenebroso, Apanhei-te cavaquinho, Ouro sobre azul, Confidências, Ven cá, Branquinha and Bataque. Some of the musical numbers were with piano and others were percussion only. There were also instances when the dancers themselves created the sound and rhythm, with clapping and stomping, as in the opening. The style of their dances was a mix of street dance, acrobatics, samba no pé, voguing, African dance, to name a few.

Ephrat-Asherie-Dance-Odeon (2)

Photo Credit: Matthew Murphy

The dancers were well rehearsed, but at the same time, it all felt spontaneous and fresh. Everyone seemed to be enjoying themselves onstage and this positive energy was transmitted to the audience. Each dancer cultivated and demonstrated a unique personality and atitude but when they danced in unison they fit together perfectly. There were selections when  the percussionists came into the center of the stage and directly related to the dancers. The pandeiro (Brazilian tambourine) and other percussion instruments were played in a call and response to the dancers’ movements in some selections.  The dancers and musicians were always in synch and this was truly a collaboration on all levels.

At the end of this breathtaking display of fast and fancy footwork, and stunning orchestration, the audience gave them a well-deserved standing ovation.  Ephrat Asherie Dance company transmitted the exhuberance of Nazareth’s pieces through their spirited execution of the imaginative choreography.

To learn more about Ephrat Asherie Dance and their upcoming performances, please visit their website. To see what’s coming up at the Annenberg Center, please visit their website.

 

 

Ballet Hispanico At the Annenberg in Philadelphia

Ballet Hispanico, a professional dance company from New York City, presented three pieces in their dance concert at the Annenberg Center at the University of Pennsylvania in Philadelphia on February 5, 2016. Very different in theme, each dance contained hispanic inspired music (Bury Me Standing uses traditional gypsy melodies, which are recognizable today by many in Spanish flamenco)  and also showcased the versatility, artistry and innovation of the company: Sombrerísimo, (choreographed by Annabelle Lopez Ochoa in 2013), Bury Me Standing (1998 by Ramón Oller) and Flabbergast (2001 by Gustavo Ramírez Sansano).

The first dance, Sombrerísimo, featured male dancers with hats, hence the name, which translated from Spanish, would be something like “extremely hats.” According to the program it was based on the artistic works by Belgian René Magritte, which were of men wearing bowler hats. The style was mostly “modern” with a little bit of latin (as opposed to classical ballet), in which the feet and the rest of the body are able to take on movements outside the ballet vocabulary. The hats were tossed around and became characters as well.

The longest and most serious piece of the evening was Bury Me Standing.  I love the title. It comes from a Romani proverb, referenced in the book by Isabel Fonseca: “Bury me standing, I’ve been on my knees all my life.” This refers to the oppression that the Roma (aka the gypsies or gitanos) have experienced for centuries. Ms. Fonseca’s book, Bury Me Standing: The Gypsies and Their Journey, was published in 1995, based on her own observations drawn from four years of living with the Roma. The choreographer is from Spain, and Spain has a huge Roma, or gitano population in Andalusia. Having spent part of last summer in Granada, I visited Sacromonte (the Roma part of town) and flamenco was all over Granada so  their culture was still fresh in my mind.

Bury Me Standing is a tribute to the Romani, but never replicates the footwork or the intricate handiwork of the flamenco, although there are glimpses of it. The choreographer goes beyond what we usually see as gitano or flamenco dance to invoke a mood and tell the story. Only the men do the hand movements at one point. Everyone is barefoot in the dance so even in a lined up formation, no noise could be made or heard from the stylized footwork that recalls zapateo. The style is contemporary or modern dance, with some flamenco/gypsy inspired movements. The choreographer makes excellent use of the stage–there is no part of it that is not used at some point in the piece. Levels are also varied, with some steps taking place with the dances on the floor, on their knees, or jumping. There is a table too, and two women relate on the table. All of this results in a very multidimensional and multilayered performance.

Through the intense choreography and imaginative staging, they communicated the somewhat foreign context of the Roma. The emphasis on the collective, the group consciousness and unity was evident, as well as a charismatic male leader, who had a few solos. We see some of the conflict that occurs in this group, as the women walk on their knees, gossip and cross themselves repeatedly. Some men also walk on their knees, but the group of women doing it is singled out and very striking. The Roma are more traditional and patriarchal than mainstream Spanish culture today, and this was well depicted through the dance. At the same time, the crawling and walking on the knees, refers back to the Roma proverb, and is a reference to the oppression that the Roma have experienced for so long, no matter what country they live in. The dance ends with all of them running in place, which could have various interpretations–perhaps a more positive one is that they are standing up and empowered. Bury Me Standing is a  moving tribute to the Roma, these “nomadic” people who have spread throughout Europe and even to the United States.

The last dance, Flabbergast, was light and funny, and a good ending to the evening. They broke the fourth wall, sung while they danced: “voy a bailar, ” and talked to each other. In this dance, which the program says ” exposes with humor our stereotypes and preconceived ideas about new and foreign places… telling the story of a newcomer coming to a place for the first time”. somebody is always doing their own thing on stage! Ballet Hispanico ended the concert with a pose and a smile–after a varied and polished program that entertained and encouraged the audience to think, laugh and feel.

***

Ballet Hispanico was founded in 1970 by Tina Ramírez. The company specializes in Spanish and Latin American inspired dance. In addition to their professional touring company, they also maintain a thriving school to train young and aspiring dancers in Spanish dance, Classical Ballet and Contemporary Dance. The current Artistic Director is Eduardo Vilaro.