SAB's Summer Choreography Workshop

Last Thursday evening, we went to the Summer Choreography Workshop at The School of American Ballet.  There were two showings of the program -- one at 5:30pm for SAB staff and families of Summer Course students; and one at 6:30pm for SAB donors.  We went to the second showing.

The program was introduced by Meredith Robbins, the School's Director of Development, and Caroline Langerman, Director of Individual Giving, who welcomed the audience and introduced Peter Walker, one of the two choreographers.

Peter Walker in Balanchine's 'Who Cares?' at the 2011 SAB Workshop performances.

Peter is an alumnus of SAB and a member of the corps of NYC Ballet.  He told us the sad news that one of his dancers was sick and unable to perform in his ballet, 'Passage'.  He and the remaining seven dancers in his work had just held a meeting and decided that they could not perform 'Passage' without her.  It was a gracious speech given in the aftermath of disappointment for Peter and the eight students who had all been working hard on his piece.

There is a delightful Youtube video that Emily Kikta created with Daniel Ulbricht, Harrison Coll, and Peter Walker during NYCB's week in at the Kennedy Center last March.  You can see it here: https://www.youtube.com/watch?v=RjtxvQrHIhU

It looks like it was fun to make, and it sure is fun to watch. 

Then Silas Farley spoke about his new ballet, 'The Dowland Dances'.  The ballet uses seven pieces by the English composer John Dowland (1563-1626) from the 2006 recording 'Songs from the Labyrinth' by Sting with the lutenist, Edin Karamazov.  Silas said that in addition to the music, he was inspired by court dances of the Elizabethan period -- the gavotte, the galliard, the lavolta.

Silas used eight advanced students -- Anissa Bailis, Jarod Curley, Andrea Fabbri, Jared Kelly, Anastasia Kubanda, Carolynn Rowland, Xhosa Scott, and Samantha Schaubach --in various combinations of solos, duets, trios and more.  One or two dancers would emerge from group patterns for solos or duets, then recede back into the group again.  One dancer's phrase was sometimes elaborated by other dancers in cannon.  Silas has mastered the art of drawing the audience's focus toward specific dance images -- no mean feat in an evenly lit studio where viewers are arrayed in four rows on one long wall with the rest of the space used for the dance.

In 'The Dowland Dances' Silas gives each of the eight dancers opportunities to display their singular capabilities.  All of them seemed fully invested in making their individual moments count while remaining within the context of Silas's complete work.  Is this perhaps part of a trend to eliminate the hierarchy in ballet and fully embrace the concept of 'dances at a gathering' of equals? 

I found the lyrics, sung by Sting, to be a distraction.  You can't easily understand them and concentrating on them detracts from enjoying the dance.  When music, choreography and dancers are all largely unknowns, adding unfamiliar and largely unintelligible lyrics creates another layer of complication.  I would like to have the opportunity to see this work again after listening to the Sting/Karamazov recording (and perhaps seeing the PBS Great Performers program that arose from it).  It would help to have the titles of the seven selections and perhaps their lyrics printed in the program. 

Silas is also an SAB alumnus and NYC Ballet corps dancer.  During his years at SAB, Silas was known as a student who could quickly learn and retain ballet combinations and choreography.  Even before he was eligible to choreograph for the annual Student Choreography Workshop, Silas volunteered to act as a 'ballet master' for the older students.  Since joining NYC Ballet in 2013, Silas has also taught classes at SAB and created pieces for student dancers to perform at the 2013 and 2014 SAB Winter Balls.

Silas Farley teaching an SAB class.  Photo by Rosalie O'Connor

Silas Farley is definitely a talent we'll be watching in the future.

The Movie: 'Boyhood'

We saw Richard Linklater's  movie 'Boyhood' Saturday afternoon.  Linklater and the key members of his cast and crew made the film over a span of 12 years.  While the boy, Mason, Jr., (played by Ellar Coltrane) at its center ages from 6 to 18, his mother, Olivia (Patricia Arquette), father, Mason, Sr., (Ethan Hawke) and older sister, Samantha, (Lorelei Linklater) also age 12 years.

Official poster for 'Boyhood'.

From listening to Linklater in interviews, he created the script each year just before the cast assembled to shoot the next installment.  Yet, somehow, the movie appears seamless, not a collection of yearly episodes.

The story opens when Mason, Jr.'s parents are already divorced and Mason, Sr. is living in Alaska.  After a messy break-up with a boyfriend, Olivia moves to Houston with the two children to be near their grandmother.  Having convenient child care allows Olivia to return to college for her degree in Psychology.  For someone who is studying and eventually teaching the science of human behavior, Olivia seems to make nothing but poor choices in her own life.

The real story here is how the adults constantly fail to meet the needs and aspirations of their children, while the children have enough innocence and resilience to overcome the failures of their parents.

The acting is amazingly natural from all four principals and a large, shifting supporting cast.  Ethan Hawke stands out as the nonchalant, drop-in birth father.  Patricia Arquette is wonderful as the ever present mother -- always looking for the Mr. Right who will solve all of her problems and waking up to find another Mr. Wrong making them worse.  While the film is titled 'Boyhood', Lorelei Linklater makes the often sullen, observant older sister a multifaceted major character.  Ellar Coltrane carries the arc of the movie from innocent six-year-old to awkward high-school graduate and hopeful college freshman, catching the nuances of growing up in the fast moving, early 21st century.

This movie isn't for everyone -- it's long (163 minutes), it's pacing is occasionally erratic, it's characters are hard to identify with -- but for me it's the most exciting cinema so far this year.  At this point, Richard Linklater must be on everyone's short list for a best director nomination.  

  

Italian Trip Diary -- Day #8 -- Siena

Wednesday, June 20, 2001, Siena:

On our next day in Siena, we visited the Pinacoteca Nazionale (picture gallery) which is filled with Sienese masterpieces (as with most Italian museums, no photos were allowed). After our art “fix” we stopped for lunch on the Campo.  Then we walked to the cathedral.  The exterior is an extravagant mix of Romanesque and Gothic styles in multi-colored marble.

Siena Cathedral (Santa Maria Assunta) exterior from the southwest.  The lower part of the
west facade was designed by Giovanni Pisano, who also did most of the sculptures.
Photo by Blomme-McClure

The upper half of west facade was completed between 1360 and 1370 to designs
  by Duccio di Buoninsegna.  The large rose window meant off-setting the structural supports
 of  the upper facade from the columns between the doors, making the composition unstable.
The Venetian glass mosaics in the gables were added in 1878.  Photo by Blomme-McClure

Detail of the lower half of the west facade showing the elaborate sculpture and
scultural elements designed by Giovanni Pisano around 1284.  Photo by Blomme-McClure

The present church is contained in what was originally planned as the cathedral transepts.  The planned nave was left incomplete when the Siena was ravaged by the black plague in 1348.  The Republic of Siena never fully recovered from the ravages of the plague and was eventually conquered by the Republic of Florence in 1554 and incorporated into the Grand Duchy of Tuscany in 1559.  

Interior of Siena Cathedral.  The nave is just one bay longer than the choir.
The black and white striped marble of the columns and walls reflects the colors of
Siena's coat of arms.  Photo by Blomme-McClure

Ceiling of the nave showing the bust of popes just below the cornice.
Photo by Blomme-McClure

The interior is famous for the beautiful pavements, but they are mostly covered over by plywood for preservation.  The few panels that were available were wired to detect any seismic fluctuations due to some excavations in the crypt below the cathedral.  There is a magnificent marble pulpit carved by Nicola Pisano (father of Giovanni) with panels depicting episodes from the life of Christ. 

Octagonal Pulpit by Nicola Pisano rests on eight columns, four supported on the backs of animals.
Photo by Blomme-McClure

Panels of the Pulpit portray the Life of Christ -- here the Crucifixion.  Photo by Blomme-McClure

From the cathedral we walked over to the museum (Museo dell'Opera Metropolitana del Duomo) which is built into the end of the planned nave. 

Vestiges of the planned nave extending from the Cathedral's south transept.  Photo by Blomme-McClure

The floor of the planned nave is now a parking lot.  Photo by Blomme-McClure 

There is a gorgeous 'Virgin in Majesty (Maesta)' by the early Sienese painter Duccio. 

'Virgin in Majesty (with Saints and Angels)' by Duccio (di Buoninsegna),
tempera and gold on wood, 1308-1311.  Photo from Wikipedia

And on the reverse are 26 panels (from the original 43) depicting the passion of Christ. 

'Scenes from the Passion of Christ' by Duccio (di Buoninsegna),
tempera and gold on wood, 1308-1311.  Photo from Wikipedia

The whole thing is displayed in a darkened, climate controlled room with dramatic lighting which highlights the shimmering golden backgrounds – a feature of the Sienese style.  This suite of paintings originally assembled as an enormous altarpiece was placed in the cathedral upon its completion in 1311.

From the interior of the museum there is a winding stair leading up to the top of (what would have been) the west front of the nave.  From the top, there are marvelous views back toward the Cathedral and out over the Campo, the city and the surrounding hills.

South facade of Siena Cathedral with campanile and dome looking from the top of
the abandoned nave.  Photo by Blomme-McClure

View of Piazza del Campo with Palazzo Publico and Torre del Mangia from top of abandoned nave of
Siena Cathedral.  Photo by Blomme-McClure

George and Carl climbed to the very top, Doug settled for an intermediate stage where there was a larger viewing platform with wonderful views.

Siena is a very small city with three main streets that run along three ridges.  We enjoyed wandering through the old streets which were surprisingly free of tourist throngs (especially compared to the crush of Florence).

Palazzo Tolomei on Piazza Tolomei was begun in 1205.  It's the oldest surviving
residence in Siena, although it has suffered fires and destruction in times of war
 and been restored several times.  Photo by Blomme-McClure 

'Loggia della Mercanzia' built by Sano di Matteo and Pietro del Minella between 1417 and 1428,
was under restoration when we were in Siena.  This loggia is at the corner where the three main streets of Siena come together and was a meeting place of merchants.  Photo by Blomme-McClure

'St. Paul' by Vecchietta on the Loggia della Mercanzia, marble, 1460-62.  Photo by Blomme-McClure

Palazzo Salimbeni is the seat of the world's oldest bank, Banca Monte dei Paschi di Siena.
Photo by Blomme-McClure

Upon returning to the hotel, we were disturbed by a sinister looking man knocking on our door.  Since we had all sent out laundry in the morning, we were expecting a porter to be bringing back the clean clothes and innocently opened the door. When we went out to dinner later and compared notes with Carl, we found that the same man had knocked on his door as well and then claimed to have the wrong room when he opened the door. 

That evening we dined at La Taverna del Capitano (Via del Capitano 6/8, Siena; 0577/288094) near the cathedral.  When we arrived there was a party (bridal shower, baby shower, birthday party?) in the main dining room (about 18 Italian women of all ages drinking lots of wine, laughing and shouting).  To avoid the din, we elected to sit outside, where the chill breeze made for an uncomfortable dinner setting -- although the food was delicious.

As a result of our chilly dinner setting we elected to retreat for dessert and coffee to Café’ Victoria (via di Citta 130, Siena; 0577 46720) which offered a warm corner, a funny waiter and a delicious apple cake.

When we returned to the hotel, we discovered that an elderly lady from a touring group staying on our floor had been burgled by a man who had pushed his way into her room when she answered the door!  We felt somewhat sheepish that we had not reported our earlier encounters with the sinister man to the front desk.  On the other hand, our experience with the general indifference of the staff at the front desk gave us little confidence that any action would have been taken.

Italian Trip Diary -- Day #7 -- Florence to Siena

Tuesday, June 19, 2001, Florence to Siena:

We were so enamored with Florence that we asked the concierge if we could to delay our departure from the hotel as long as possible.  She allowed us an extra hour – until 1:00pm.  So we were able to visit the museum of the Duomo (Museo dell'Opera del Duomo) in the morning.  It is a wonderful museum which presents many of the treasures of the Duomo, the campanile and the baptistery in a beautiful, modern manner.  There were several restored panels by Ghiberti from the baptistery doors (the originals which were deteriorating from the atmospheric conditions). 

'Story of Esau and Jacob' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

'Story of Cain and Abel' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

(The entire set of original panels have now been restored and reassembled in this museum, displayed inside a giant 'casket').

There are also relief panels from the walls of the campanile.

One of the original relief panels from the Campanile.  Photo by Blomme-McClure

And original statues from the façades of the cathedral, the campanile and the baptisery are all displayed.

'Baptism of Christ'  originally above the East Doors of the Baptisery (replaced by copies).
Figures of Christ and John, the Baptist, begun by Andrea Sansavino and completed by Vincenzo Danti, 1501 to 1503.  Angel completed by Innocenzo Spinnazi in 1752.  Photo by Blomme-McClure

'Saint John, the Evangelist' by Donatello, marble, 1408-15, from facade of Duomo.
Photo by Blomme-McClure

'The Prophet Jeremiah' by Donatello, 1423-1427 from Campanile.
Photo by Blomme-McClure

Also there are lots of precious reliquaries and similar items.

Reliquary of gold and crystal containing chains.  Photo by Blomme-McClure

These fragments from an arch were beautifully displayed.  Photo by Blomme-McClure

But the most prized object is an unfinished (by now we are not surprised) 'Pieta' by Michaelangelo which supposedly includes a self-portrait and was intended for his own tomb.  Compared to other Michelangelo works that we saw in Florence, it seems rough, heavy and mournful – the figures each seem to be in a different scale and don’t relate easily to one another, creating great tension and requiring work from the observer to understand this grouping.

'Pieta' by Michelangelo, marble, 1547-1553.
 The hooded figure at top is thought to be a self-portrait -- this grouping was meant for
Michelangelo's tomb before he abandoned it.  Photo by Blomme-McClure

There is also a rather terse wood carving of “The Penitent Magdalene” by Donatello.

'The Penitent Magdalene' by Donatello, carved poplar, 1453 to 1455.
In this work Donatello may have conflated Mary Magdalene with Saint Mary of Egypt
 who lived as a hermit in the desert.  Photo by Blomme-McClure

In one room there are two white marble cantori (choir galleries) -- one by Donatello and one by Luca della Robbia – that are masterpieces of relief sculpture.

Choir Gallery with relief sculptures by Donatello, marble, 1433-39.  Notice how the figures continue behind the columns.  Photo by Blomme-McClure

Choir Gallery with relief sculptures by Lucca della Robbia, marble, 1431-1438.  
Photo by Blomme-McClure

Additional Relief Panels by Lucca della Robbia, marble, 1431-1438.
Photo by Blomme-McClure

We left Florence with reluctance, climbing up over the hills past the Piazzale Michaelangelo and San Miniato al Monte and savoring the views of the city for the last time.  The Autostrada to Siena runs through high green hills, many capped with hill towns or monasteries silhouetted against an increasingly cloudy sky.  Our arrival in Siena was inauspicious since we had incomplete directions to our hotel and proceeded to get lost in the maze of streets leading to the center of the city. Fortunately, signs to our hotel, the Jolly Hotel Siena (now the Hotel Excelsior, Piazza La Lizza, Siena; 0577 288448, http://www.nh-hotels.com/nh/en/hotels/italy/siena/nh-excelsior.html), appeared about the time we were getting a little frantic.

Our welcome at the hotel was chilly.  We were informed that due to a street fair the following morning we would have to park in a lot down the hill behind the fortress.  Carl accompanied the luggage up to the rooms, while George & I took the car down the hill to a crowded, but free, lot.  Returning to the hotel, we found that the hallways were dark and low-ceilinged, the rooms were tight and the whole place was pervaded with the smell of a sour cleaning solvent.  Fortunately, our corner room had a wonderful view over the stadium to the cathedral.

Siena Cathedral (Santa Maria Assunta) viewed from our room at the Jolly Hotel Siena.
Photo by Blomme-McClure

After a brief pause at the hotel, we decided to walk to the Piazza del Campo in the center of the city – the famous square where the Medieval horse race, the Pallio, is run once each summer.  

Piazza del Campo, Siena.  Photo by Blomme-McClure

It is a wonderful space – a huge fan shaped bowl that slopes down from the entrances to the stunning Palazzo Pubblico (the town hall) with a tall tower (Torre del Mangia) at the end of its façade.

Palazzo Pubblico (City Hall) of Siena begun in 1297.  The Torre del Mangia (bell tower)
was added in 1325 to 1344 with the crown designed by the painter, Lippo Memmi.
Photo by Blomme-McClure.

At the base of the Torre del Mangia is the Cappella di Piazza -- an al fresco chapel.
It was added in 1352 to thank the Virgin Mary for those who survived the Black Plague,
which dessimated Siena in 1348.  Photo by Blomme-McClure

Opposite the town hall is a beautiful fountain of gleaming white marble.

'Fonte Gaia' (Fountain of Joy) designed and built in 1419 by Jacopo della Quericia.
Photo by Blomme-McClure

'Madonna and Child' at center of 'Fonte Gaia' by Tito Sirrocchi, 1866.
The orginal sculptures by Jacopo della Quericia are now in a museum elsewhere in Siena.
Photo by Blomme-McClure

We found a table at Bar Manganelli on the square and had barely settled when an enormous thunder storm swept over the city.  It lasted for nearly 45 minutes, but we stayed comfortable and dry and enjoyed a nice, late afternoon lunch.  When the rains calmed down we made our way back to the hotel.

That evening we went out to dinner in a light rain to Antica Osteria da Divo (via Franciosa 25-29, Siena; 0577/284381; http://www.osteriadadivo.it/eng/chi-siamo.htm) a delightful restaurant in an ancient building tucked behind the cathedral.  The translation of the menu into English was hilarious and gave us all a case of the giggles, but the food and service were seriously wonderful.  During the course of our dinner the waiter dropped by to show us several desserts as they were being served to other customers.  Needless to say, we all had dessert.  The courses were interspersed with small “gifts” from the chef and the whole meal was capped off with a complimentary lemon liquor, Limoncello, which we all found refreshing.

June Visit to the Sackler and Freer Galleries

When we're in Washington, I always find time to drop into the Sackler and Freer Galleries with their splendid collections of Asian art.  Because they're both part of the Smithsonian Institution, connected by an underground passage, and focused on Asian art, I'm never sure where one stops and the other starts.

The Sackler Gallery resulted from Arthur M. Sackler's donation of over 1,000 objects of Asian art worth more than $50 million to the nation through the Smithsonian Institution in 1982, along with $4 million toward the building of a suitable place to display the collection.  The Gallery is part of the Smithsonian's 'south quadrangle' project which includes The National Museum of African Art and the S. Dillon Ripley Center (a conference and study center).  There is 115,000 square feet of gallery space in the completed project -- 96% of it underground. 

The entrance to the Sackler Gallery is a granite pavilion at one corner of the Enid Haupt Garden which houses the lobby and a grand staircase and elevators leading down to the galleries.

'Shiva' from South India, bronze, circa 13th-14th century.
Photo by McClure

The four armed Shiva, known as the 'great destroyer', is shown here in one of his more benign incarnations, 'lord of the wild animals'.  His upper right hand probably held a small deer, symbolic of this role.  His face seems wise, elegant and inscrutable.

'Shiva Nataraja (Lord of the Dance)' from India, bronze, circa 990.  Photo by McClure

This sculpture of Shiva as 'lord of the dance' is one of my favorite objects in the Freer Gallery.  Created over 1,000 years ago in the Tamil region of southern India, it has a tremendous sense of rhythm and motion that is simply joyous.  It always stops me in my tracks.

'Buddha' from India, bronze with touches of gold and silver, 11th century.
Photo by McClure 

This relatively small statue of the Buddha shows the characteristic meditative calm of so many works in the collection.

'Vishnu with Consorts' from the Bengal region of India, black schist, circa  705-1200 AD.
Photo by McClure

The Hindu god, Vishnu, is depicted in this crowded stone carving with his two consorts -- Lakshmi, goddess of fortune (lower left), and Sarasvati, goddess of wisdom (lower right).  Despite the images and symbols pressing around him, the god remains the serene center of this composition.

'Tomb Guardian' from China, wood, pigments & deer antler, 4th century BC
(Eastern Zhou period).  Photo by McClure

This fierce looking object shows how nature (the antlers) trumped man-made symmetry (the carved wood) in very ancient China.  The bronze vessels in the case beyond are probably even older.

'Plate' from Iran, silver & gilt, Sasanian period, 4th century AD.  Photo by McClure 

This plate depicts in relief the mounted king hunting wild boars.  It captures that hectic moment when the hunter closes in on the quarry with great vitality, if a somewhat distorted sense of scale.

'Wine Horn with Gazelle Protome' from Iran, silver & gilt, Sasanian period, 4th century AD.
Photo by McClure

The animals pursued in the royal hunts (including boars, lions, and gazelles) were often depicted on the silver and gilt dinnerware of the royal households.

'Ewers' from Iran, silver & gilt, Sasanian period, 6th to 7th century AD.

The women depicted on these ewers are really dancing up a storm.  The Sasanian metalsmiths were fantastic at capturing the movement of the dance and the hunt.

'Lobed Ladle and Bowl' from China, hammered silver with repousse, chased, and
ring-punched decoration, late 7th or early 8th century (early to mid-Tang dynasty).
Photo by McClure

This bowl and ladle with their sensuous, repetitive patterns are typical of objects used at the court of Tang emperors.

'The Shrine and Beach at Sumiyoshi' from Japan, ink, color and gold on paper, circa 1640.
Right half of 12-panel screen showing the beach.  Photo by McClure

'The Shrine and Beach at Sumiyoshi' from Japan, ink, color and gold on paper, circa 1640.
Left half of 12-panel screen showing the shrine.  Photo by McClure

This 12-panel screen depicts the Shinto shrine at Sumiyoshi which is set on a beach and surrounded by pine trees.  Since the shrine is dedicated to the empress Jinju and the three deities that protected her on her invasion of Korea, I'm sure that it is one of those Japanese nationalist sites that rile the Koreans and Chinese today.  It looks like a beautiful place, but it's probably best to view the shrine in an art gallery.

'Carp'  by Totoya Hokkei, woodblock print, ink and color on paper, 19th century.
Photo by McClure 

This graceful woodblock was part of a larger wall display of Hokkei's fish pictures.  The sensuous motion of the carp leaping out of the water contrasts with the repetitive arcs of the pool.

'Avalokiteshvara, Bodhisattva of Compassion'  from Tibet, brass alloy
with copper and tin inlay, circa 1050.  Photo by McClure

Alternately depicted as male or female in different buddhist cultures, this is one of seven forms that Avalokiteshvara takes.  This Tibetan version with its broad shoulders and slim hips (masculine) and small round breasts and delicate hands (feminine) could be of either sex (or maybe neither). 

' Bodhisattva White Avalokiteshvara'  from Nepal, polychromed wood, 14th century.
Photo by McClure

This graceful 'White Avalokitechsvara' is carved from a single piece of wood by a skilled Nepalese carver.  In its original state it would have been covered with an inlay of precious jewels, but here the viewer sees the unadorned beauty of its sinuous shapes.

'First Sermon from the Deer Park at Sarnath' from Afghanistan, schist, 3rd century

This relief sculpture depicts the Buddha explaining the dharma to his five companions shortly after his enlightenment.  In his sermon at the deer park, he taught that extreme deprivation was not necessary to reach an enlightened state.  There is now a Buddhist monastery at Sarnath (India) on the site of the deer park where he gave the sermon.

*  *  *  *  *  *  *

Whether you understand the historical or religious aspects of these works (I don't) the art of Asia has wonderful appeal.  The variety of materials and techniques that are used, the migration of forms over time and place, and the transformation of ideas from one culture to the next are all interesting to trace through the objects in these galleries.