Dances We Dance presents its 2024 Fall Season from November 21-24, 2024, titled ACQUA, at the Martha Graham Studio Theater, 55 Bethune Street, 11th floor, NYC. Performances: Thur-Sat at 7:00pm, Sun at 3:00pm. Tickets are $37 general admission, $27 student/senior, and $120 for the 11/24 performance, which includes a reception and meet-and-greet with dancers and staff. Tickets are available for purchase at https://www.danceswedance.org/tickets2024.

 

This season beautifully captures the thematic richness of the performance ACQUA by highlighting how the element of water has inspired modern dance from its early days and honors women’s stories and empowerment through movement.

 

Part 1: Water as Inspiration in Dance

Historical Water-Themed Choreographies: The evening begins with a powerful recreation of Isadora Duncan's and Doris Humphrey’s renowned water-inspired choreography. Eleven dancers, guided by experts Gail Corbin and Francesca Todesco, will bring this historical piece to life, shaped by a 10-session workshop.

 

Doris Humphrey’s dance, Water Study (1928), is a vivid choreographic example of breath motif in a multiplicity of rhythms and forms. Performed without music and with a large ensemble of dancers, the piece depends entirely on the rhythmic flow of the bodies and breath of the dancers. The composition begins with gentle wave undulations rippling successionally through their bodies. Gradually the movement becomes more intense: running and leaping suggest high, crashing waves on a stormy sea which rise to a climax and then once again gradually subside to tranquility.

 

Classic in balance, symmetry, and frontality, Isadora Duncan's Water Study clearly evokes water and waves. Motifs are built on the ideas of weight and flexibility, reflecting Duncan's fascination with the natural laws governing the motion of waves. Endlessly flowing undulations, billows, swirls, and ripples in the dance invite comparison with "Waves," "Splashes," and "Ripples" in the more complex Water Study of Doris Humphrey. (source: https://isadoraduncanarchive.org/)

 

Contemporary Water Interpretations: In addition to these historic works, the performance also includes contemporary takes on water themes by Catherine Gallant, Hannah Howell, and Rae Ballard. These modern interpretations offer a fresh perspective on the symbolism of water in dance.

 

Wave by Catherine Gallant

Originally performed in 2001, Wave expresses the generational flow of information from one body to another. A single ripple recedes and surges into unique torrents, reflecting the phenomenon of teaching and learning as an ongoing spiral mode of understanding and relating.

 

As-yet-untitled new piece by Hannah Howell (young choreographer graduate of the Ailey/Fordham BFA Program)

The sea is a site of involuntary and voluntary travel, of relationships between those who make journeys across it, of openness of fluidity that cannot be found on land, of pollution but also of beauty. Set to music by musician Angel Bat Dawid, this work seeks to capture some of the juxtaposing qualities of the sea through collective and disjointed movements, softness and sharpness, and serenity and chaos.

 

Tidal Pool by Rae Ballard (2024)

Where the ocean meets the land, the ebbing tide forms a pool that seems calm and empty, belying the secrets that teem beneath the surface.

 

 

Part 2: Women’s Stories and Empowerment

Chercher La Femme by Francesca Todesco: This piece delves into the overlooked stories of influential women throughout history, honoring their contributions and struggles. It aims to shed light on the brilliance of women whose accomplishments have often been overshadowed.

 

Solo Performances: On different nights, both Francesca Todesco and Annmaria Mazzini will showcase their individual talents through solo performances, adding a personal and intimate element to the evening.

 

Haunted Echoes, Annmaria Mazzini's New Commissioned Quartet: This closing performance reflects on the transformation of women through time, exploring themes of desire, surrender, and liberation. This work appears to tap into a deep sense of metaphysical energy, where the female characters transcend time and circumstance, ultimately portraying women’s cyclical return to energy beyond time and space.

 

This concert is a thoughtful exploration of both water as a dynamic force in dance and women's narratives, weaving historical significance with personal expression.

 

Choreography: Francesca Todesco, Rae Ballard, Catherine Gallant, Hannah Howell

Repertory Work by: Isadora Duncan (1877-1927) and Doris Humphrey (1895-1958)

Humphrey restaging by: Gail Corbin

Guest Choreographer: Annmaria Mazzini

Special Guest Appearance by: Annmaria Mazzini (11/22 and 11/23)

 

PERFORMANCES

Thursday, November 21, 2024 - 7:00 PM

Friday, November 22, 2024 - 7:00 PM (with special guest artist Annmaria Mazzini)

Saturday, November 23, 2024 - 7:00 PM (with special guest artist Annmaria Mazzini)

Sunday, November 24, 2024 - 3:00 PM (reception to follow)

 

Tickets

$37 Gen. Admission - Thursday thru Sunday (performance only)

$27 Students/Seniors - Thursday thru Saturday

$120 Sunday 11/24 performance & reception

 

Running time: approx. 90 minutes, including a 10 minute intermission.

 

Tickets are also available to purchase at the door.

 

LOCATION

Martha Graham Studio Theater

55 Bethune Street, 11th Floor

(Westbeth Artists Housing Building)

New York, NY 10014

 

The Westbeth building is wheelchair accessible.

 

Dances We Dance (DWD) is a not-for-profit organization committed to teaching, researching, reconstructing, preserving, and performing both contemporary and historical works of choreography. Under the artistic direction of Francesca Todesco, DWD places a special focus on early American Modern Dance, with an emphasis on the legacy of Isadora Duncan, as well as influences from Anna Sokolow, the Humphrey-Limón technique, and other styles.

 

A core aspect of DWD's mission is to preserve and share Duncan’s technique and repertoire through performances and educational programs, ensuring the next generation of Duncan Dancers is well-trained. The company's performances allow audiences to draw connections between the works of past and contemporary choreographers, actively exploring new movements for original pieces while also reimagining and recreating lost works with a modern perspective, honoring their historical significance.

 

Education is central to DWD's work, offering weekly Duncan-style classes in New York City, as well as intensive workshops and seasonal programs with master teachers. Francesca Todesco also travels internationally to conduct workshops and perform, expanding the company’s educational outreach globally. The company also collaborates with guest choreographers to create original or repertory works, making it a versatile platform for exploring dance's evolving legacy.

 

www.danceswedance.org