マイケル·クラーク·カンパニー
Tate Project Part I ]
The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

Since its founding in 2008, TAO Dance Theater has taken China‟s dance world by storm. The company has performed in every modern dance festival throughout the country and has collaborated with leading Chinese artists across genres including theatre, experimental music, film, visual arts and installation. TAO has been featured in performances as well as choreography and teaching residencies in festivals worldwide, including Europalia (BE), Culturescapes (CH), M.A.D.E. Festival (SE), Singapore Arts Festival, and the American Dance Festival (US).

“Gustave Le Gray No. 1”
In 2019, Ballet Across America was put together with the inspiration of women’s leadership in ballet and dance. To mark the celebration, the Center commissioned choreographer Pam Tanowitz to create a world premiere work for the week’s two participating companies, Dance Theatre of Harlem and Miami City Ballet; both are companies led by visionary women – Virginia Johnson at DTH and Lourdes Lopez in Miami.
Tanowitz set the work on two dancers from each company, with a pianist on stage playing a solo work by the composer Caroline Shaw. The piece had its world premiere during Ballet Across America on May 31, 2019. This video captures the premiere performance.
.
Pianist: Sylvia Jung
Dancers: Renan Cerdeiro, Lauren Fadeley, Anthony Santos and Stephanie Rae Williams

マイケル·クラーク·カンパニー
Come, been and gone

Ballet meets punk, and neither comes out the same. In its highly anticipated first visit to Chicago, the electrifying Michael Clark Company provocatively pays homage to the decadence and unbridled fun of 1970s club culture. British dance iconoclast Michael Clark sets his choreography in come, been and gone to the music of fellow rebel David Bowie, and collaborates with video artist and dance film pioneer Charles Atlas. Clark’s dancers don Bowie-style leather jackets and echo his unique body language, building up to a detonation of jumps and kicks. “Come, been and gone” pulls off a remarkable feat—matching the cool, alien beauty of the singular singer, who makes a cameo appearance here thanks to 1977 film footage of his track “Heroes.”

Pixel
A Small tease of the hour long presentation Intertwining body movement with technology is no easy feat. The Dance show is 11 dancers in a virtual and living visual environment. It took the collaborative artistic efforts of artists Adrien Mondot, Claire Bardainne from Adrien M/Claire B Company and Mourad Merzouk from his dance company Käfig to bring to life Pixels. A work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus.

Skid
Pushing further his exploration of a more intense and intimate relationship of the body to the force of gravity, Damien Jalet created “Skid” (2017) for the Gothenburg Dance Company. The dancers performed for 40 minutes on a 34 degree inclined platform of 40 square meters. Together with dancer Aimilios Arapoglou and other members of the company, they developed an alphabet of new physical possibilities, alternating control and surrendering, of accelerations and slow motions, to be performed alone or with partners.

Autobiography
Autobiography is an abstract meditation on aspects of self, life and writing, a non-linear approach to a life story refracting both remembered pasts and speculative futures. McGregor worked with dancers from his company in 2017 to create choreography from old writings, personal memories, pieces of art and music that have been important in his life. From these elements, 23 sections of movement material were created, reflecting the 23 pairs of chromosomes of the human genome. The choreographic events from the 23 sections were then fed into an algorithm based on McGregor’s genetic code.

Gallim Dance
Founded by choreographer Andrea Miller, Gallim Dance burst onto the New York dance scene in 2007 and immediately caught the attention of the New York dance community. The company includes an ensemble of dancers hailed for their quick wit and technical virtuosity. The mission of Gallim Dance is to play inside the imagination, to find juxtapositions of the mind and body that resonate in the soul, to investigate our limitations and pleasures, and to realize the endless human capacity for inspiration.

西尔维·纪莲
シルヴィ·ギエム
Сильви Гиллем
실비 기옘
6000 miles away
To the shock of the dance world she left the company at 23, citing a desire for more independence, and moved to the Royal Ballet as a principal guest artist. Unlike almost any other ballet dancer — only Mikhail Baryshnikov, and to some extent Nureyev, come to mind — she not only went on to have a superstar career as an interpreter of the classics but also made an apparently effortless transition into works by contemporary choreographers while remaining a big-name box-office draw.

Dividual Plays
While the antonym of “individual” is “collective” in general, Gilles Deleuze (1925-95), a French philosopher, came up with the notion of “dividual” since the preposition “in” disaffirms the following word. Notions of “individual” and “dividual” have been, and continue to be, discussed in various contexts such as the economy, civil society, personal identity and more.
Through her time at The Forsythe Company, Yoko Ando came to define improvisation as “being individual but with the possibility of being collective at the same time”. While each agent performs independently, he/she is synchronized with other dancers simultaneously. RAM project began by finding shapes for the ideas in Yoko’s dancer’s mind. The piece expands on the idea of “dividual” and explores new dance, new notions of the body and the new relationships between the human body and technology by pursuing deeper interaction between dancers and the notion of system.

CARTE BLANCHE – CORPS DE WALK
Corps de Walk combines shapes and emotions in a unique, almost extraterrestrial “walk” by androgynous creatures. It makes a number of references to Killer Pig, Sharon Eyal’s first choreography for Carte Blanche, created in 2009. In Killer Pig, a piece for female dancers, Sharon Eyal plays with multiple incarnations of sensuality with a minimalist style and intense physical expression. She pursues that approach in Corps de Walk, but this time will all the company dancers involved. As with the previous piece, the costumes suggest androgynous nudity. She has collaborated with the Israeli musician DJ Ori Lichtik for many years, and once again here his music underpins her potent choreographic language, whose rhythm constantly evokes a beating heart.