DanceMagazine.com
Latin Choreographers Festival 2008
By Lori Ortiz
Teatro IATI (International Theater Arts Institute, New York)
July 24–27, 2008
Teatro IATI (International Theater Arts Institute, New York)
July 24–27, 2008
Fresh breezes cooled the small East Village theater opening night. In a two hour program, the first Latin Choreographers Festival breathed pioneering spirit. Founder, curator, and ballet dancer Ursula Verduzco aimed to introduce New York dance lovers to emerging Latino artists. This engaging program reflected the cultural mix of the Americas. Each of 12 ballet-based modern and contemporary works crossed genres as well as cultural boundaries.
The eye opener was Mexican choreographer Jaciel Neri’s solo Life Steps. While drawn from folkloric tradition, it also flirted with hip hop and samba. The result could not be pigeonholed. Though he didn’t travel much on the small stage, he performed his riveting solo using imaginative costumes and evocative movement to suggest extreme moments. He hit bottom three times to the sound of breaking glass. Neri arranged his wonderful layered costumes to suggest female and b-boy characters. His hips swiveled while he rocked his clasped, bound fists over the large heart appliqué on his sweater. Meanwhile, carnivalesque streamers sprouted from his knit cap that morphed into a mask.
Javier Dzul performed his striking solo Itzama in only briefs. Glistening and built, he took on reptilian forms. Frog-like belching in Antonio Zepeda’s music gave double meaning to the word “riveting.” In the denouement, snake-like, he undulated his upper torso and cocked his head with the utmost seriousness. One could imagine venom spewing. In El Viaje, a duet for Dzul and his wife Robin, his intensity overwhelmed.
Alexandra Gonzales’ energetic and invested performance in Scarred, by Frances Ortiz, evoked the horrid, the irreversible. She danced as though boxed in, thrusting her angular arms and legs and stretching into repeated, impossible shapes. It was painful to watch. In Yesid Lopez’s Tengo Que Decirte Algo(I have something to tell you) for Saki Masuda, a note came via an unseen messenger in the wing. We were left in the dark about its content, which was part of the dance’s appeal. A blithe, charming Masuda ran and leapt, her head effortlessly tilted back. She was after happiness itself.
The program began and ended with two satisfying duets: Dueto by Annabella Gonzalez and Ortiz’s Frayed Ends. Lopez’s well choreographed and performed prayerful trio created wonderful geometry on the black box stage. A translation in the program of Watashi No Omoide, Benjamin Briones’s bold venture into Japonisme for three, would have helped convey his Tudoresque plot about an old woman’s memories, featuring kimonos and Verduzco’s impressive pointework. The same trio performed Briones’ Muga. It was doomed by a bland music choice. Karina Lesko’s La Tierra De Mi Ser ably managed a cast of five including herself, an excellent dancer. Verduzco’s short Absence, which may be a thinly veiled portrait of the dancing life, rushed to its pitiable resolution.
The evening underscored dance’s universality rather than specific, Latino stereotypes. The new annual festival is a good start.
The eye opener was Mexican choreographer Jaciel Neri’s solo Life Steps. While drawn from folkloric tradition, it also flirted with hip hop and samba. The result could not be pigeonholed. Though he didn’t travel much on the small stage, he performed his riveting solo using imaginative costumes and evocative movement to suggest extreme moments. He hit bottom three times to the sound of breaking glass. Neri arranged his wonderful layered costumes to suggest female and b-boy characters. His hips swiveled while he rocked his clasped, bound fists over the large heart appliqué on his sweater. Meanwhile, carnivalesque streamers sprouted from his knit cap that morphed into a mask.
Javier Dzul performed his striking solo Itzama in only briefs. Glistening and built, he took on reptilian forms. Frog-like belching in Antonio Zepeda’s music gave double meaning to the word “riveting.” In the denouement, snake-like, he undulated his upper torso and cocked his head with the utmost seriousness. One could imagine venom spewing. In El Viaje, a duet for Dzul and his wife Robin, his intensity overwhelmed.
Alexandra Gonzales’ energetic and invested performance in Scarred, by Frances Ortiz, evoked the horrid, the irreversible. She danced as though boxed in, thrusting her angular arms and legs and stretching into repeated, impossible shapes. It was painful to watch. In Yesid Lopez’s Tengo Que Decirte Algo(I have something to tell you) for Saki Masuda, a note came via an unseen messenger in the wing. We were left in the dark about its content, which was part of the dance’s appeal. A blithe, charming Masuda ran and leapt, her head effortlessly tilted back. She was after happiness itself.
The program began and ended with two satisfying duets: Dueto by Annabella Gonzalez and Ortiz’s Frayed Ends. Lopez’s well choreographed and performed prayerful trio created wonderful geometry on the black box stage. A translation in the program of Watashi No Omoide, Benjamin Briones’s bold venture into Japonisme for three, would have helped convey his Tudoresque plot about an old woman’s memories, featuring kimonos and Verduzco’s impressive pointework. The same trio performed Briones’ Muga. It was doomed by a bland music choice. Karina Lesko’s La Tierra De Mi Ser ably managed a cast of five including herself, an excellent dancer. Verduzco’s short Absence, which may be a thinly veiled portrait of the dancing life, rushed to its pitiable resolution.
The evening underscored dance’s universality rather than specific, Latino stereotypes. The new annual festival is a good start.
"LA TIERRA DE MI SER"
Choreography: Karina Lesko
Karina Lesko&Francesco La Macchia
Photo By: Rachel Neville
REVIEWS
"MUGA"
Choreography: Benjamin Briones
Dancers: Heidi Green&Richard Ye
Photo By: Rachel Neville
"TENGO ALGO QUE DECIRTE..."
Choreography: Yesid Lopez
Dancer: Saki Masuda
Photo By: Rachel Neville
Forum Artistico
The Latin Choreographers Festival 2009
An Evening of Dance and Theater
By Nadine Lavi
Saturday July 25, 2009
The Latin Choreographers Festival at the Teatro Iati at 64 E.4th Street in NY, currently in its second year, and is the brainchild of Ursula Verduzco, dancer and choreographer. It showcases Latin choreographers, and some unique Latino perspectives on life and love, to an appreciative audience.
Last year boasted some quality dancing, notably from Lucia Campoy in Dueto, from the Annabella Gonzalez Dance Theater repertory. Ms.Campoy’s stage presence and her mastery of stillness was compelling, and evident in each step placed with care, pirouettes and leaps done with energy, and an expressive visage. Her dancing showed a range of emotions married to movement in a pleasing harmony.
This year’s performances were similarly pleasing, with some interesting conceptualizations and themes. In Habibi Hhaloua by Roman Baca/Exit 12 Dance Company, Baca, who hails from Mexico, seems to have drawn on his own experiences as a Marine for this number. In it the dancers brought to life an unusual concept: the soldier at war who envisions a romantic fantasy as an escape from the ugliness around him. Clad in army fatigues, Kendahl Ferguson partnered Lisa Fitzgerald, who appeared wearing a flowing red dress, as if from out of a dream. The background music included some melodies by Y. Islam and R. Schumann, along with the Voices of TOW Platoon 25th Marines on the radio, which made for a very realistic contrast to the soldier’s far away longings. There were some nice lifts and poses and the number ended in a rather dramatic manner, with a gunshot, and the soldier’s dead body on the ground, and an effective end to dreams of love and home.
In La Calma by Minou Lallemand/Onium Ballet Project, the Columbian choreographer offered a contemporary piece, in which the two female dancers were flowing and expressive to the music of Pepe Raphael and the Bottle Blondes.
In Vieja Ciudad de Hierro, with music by Rodrigo Gonzales & Maldita Vecindad, Benjamin Briones, a choreographer who is making a name for himself, showed a unique vision. He captured the drama her experienced during his youth on the streets of Mexico, when he struggled to claim territory to sell car parts among street toughs in an impoverished neighborhood. In a series of vignettes, Briones emphasizes the themes of love, sex, money and violence and how they either mesh or come into conflict. Ms. Verduzco, who danced this number, appeared in a red dress, with a red flower in her flowing hair, and danced enticingly. This was followed by various comings together—of men, women, in couple and in groups, and even a little Samba number in the middle. There was some pretty choreography to be seen, along with nice lifts and good partnering by Frederick Davis, an expressive dancer, whom, it would seem, has as yet untapped talents lying beneath the surface of a strong and expansive presence. The impression of the entire number was one that emphasized the vibrancy, calm, passion, and energy of life in Mexico at the time.
In Yet Still Untitled with music by David Darling, and choreography by Ted Thoman/Thomas/Ortiz Dance, two mirrors were used to good effect, as two women and one man engaged in a series of lifts and jumps, coming together and separating again.
Cain by Robert Olvera seemed part experimental theater/part dance, and was fraught with emotion. The costume alone was intruiging in terms of theater.
Shall We Dance by Yeside Lopez/Yesid & Company, brought comic relief with a well-
choreographed pas de deux for Marina Fabila and Lopez. The soprano’s aria, sung by Felicie Huni-Mihaecsek, emphasized both the strident nature of a relationship and the relief when the couple makes up. To see the “violent” altercations contrasted with the “civilized” waltzing, was quite amusing.
Getting There… choreographed by Ursula Verduzco, to Inquisition Symphony, was a pas de deux in which the theme of yearning for something better seemed to be featured. Ms. Verduzco says it’s a dance between life, represented by her partner, and herself, and how “people allow life to run their lives instead of taking charge.” Frederick Davis was an able partner, and the two dancers had a nice chemistry.
In Mediterranea by Pedro Ruiz to the music of Houria Aichi, Ellenore Scott danced a seductive, Arabian themed number.
The evening’s program ended with Picking up the Pieces by Jesus Pacheco, to the music of John Mayer and Amos Lee, featured three women, of whom Nicole Correa, a former dancer with Ballet Memphis, made the greatest impression for the clarity of her technique and her lovely lines.
There is another performance tomorrow at 3pm; go catch this festival if you can.
copyright©NadineLavi2009 for Forum Artistico
"LIFE STEPS"
Choreography & Dancer: Jaciel Neri
Photo By: Rachel Neville
"MARINO"
Choreography & Dancing: Carlos Gonzalez & Lisa Greenberg
Photo By: Rachel Neville
2011
BODY WRAPPERS
by Karen Shapiro
This year’s Latin Choreographers Festival in New York City delivered some of the most imaginative choreography and heartfelt dancing that I’ve seen all year. The Festival featured the work of thirteen different choreographers in styles ranging from modern and contemporary to pointe. Many of the dances had strong narratives while others were more abstract. Each choreographer brought a unique perspective to the festival and it was pure pleasure to watch each group perform in its own artistic voice.
I wish that time and space allowed for me to write at length about every choreographer and dance in this festival, because each dance was so beautiful, passionate, and so well done. This is the second time that I’ve seen the Latin Choreographers Festival and I think it’s become my favorite in New York City.
to read full review go to:
DANCE INFORMA
by Laura Di Orio
In its fourth year, The Latin Choreographers Festival is evidently evolving. This year’s program.......was expansive in its dance genre, musical choices and feel. It reaffirmed that every artist has a voice, has something to say, and should be given the opportunity to do so.
Works by 12 choreographers of Latin descent, and one by Aszure Barton, this year’s chosen non-Latin choreographer, were featured at New York City’s Baruch Performing Arts Center, a new home for the festival. Some of these names were new to me, while others I was familiar with, but in all I was greatly in awe of the choreographers’ dedication to their work and of the dancers’ commitment to it as well.
to read full review go to:
READING DANCE
by Lori Ortiz
A showcase always offers the promise of discovery. The Latin Choreographers Festival features artists new to me. I can now boast about those I saw in the dances from the Americas at Baruch PAC August 6 afternoon.
The Festival has evolved with a more cohesive aesthetic....
Verduzco introduced some standouts once again.
to read full review go to:
THE STAR-LEDGER
By Robert Johnson
By Robert Johnson
Latin Choreographers Festival: dances that cross boundaries.
NEW YORK—There wasn’t much flag-waving at the fourth annual Latin Choreographers Festival, which opened on Thursday at the Baruch Performing Arts Center. Most of the participants in the showcase—which helps little-known artists bring their work to the public—seemed less interested in where they came from than in who they are as artists.
A program with 13 pieces in it inevitably requires some sifting, but this one revealed some gems.
A program with 13 pieces in it inevitably requires some sifting, but this one revealed some gems.
to read full review go to:
OVERON'S GROVE
Latin Choreographers Festival 2011
The danceworks ranged from solos and romantic duets to intense narrative, presenting a succession of beautiful, charismatic and vividly talented dancers as the evening progressed.
Congratulations to..... everyone involved - especially the dancers - on a succesful fourth season.
To read full review go to:
Madame B. NYC
The Latin Choreographers Festival 2011
Dance and the City
By MADAME B.
Tuesday May 10, 2011
Recently I chatted over margaritas and tacos with Ursula Verduzco, founder and curater of the THE LATIN CHOREOGRAPHERS FESTIVAL. The Festival's mission is to present and showcase in NYC the work of talented and innovative Latin choreographers, as well as one guest (Non-Latin) choreographer or Company per year, in an environment where the General Public, the International Dance Community and the Latin Community can feel welcomed and empowered.
Entering its 4th Annual year, Ursula states how she is just so blessed and so amazed at how well the event has been received in both The Latin Community as well as the Dance Community at large.
In Ursula's own words: "Originally I began this as a dream -- doing everything myself -- on a shoestring-- it was something I felt needed to be done in order to allow Latin Choreographers more explicit exposure as well as educating the dance audience as to the depth and breadth of the work in The Latin Community. I felt there was already so much exposure in the mass culture as to the Vernacular Latin Arts and Dances -- you know, Salsa and Merengue and Spanish Folk, Flamenco etc etc... but also I knew that there was so much being created by Latin Artists in the genres of ballet, jazz, modern etc and also new developments and experimentations within the Vernacular. And so this was created to allow a home for really all the amazing ideas developed in this community... and the results have been inspiring!"
"This years show will be even bigger than last year-- I've received alot of applications from a variety of countries and that is exciting! BUT WE COULD USE MORE!-- the more the merrier! We are really gearing to showcase the work of those who have been developing a continuum of work within a time-frame that has allowed them to craft a viewpoint.
"In addition, we are seeking to showcase one Non-Latin Choreographer -- we do this each year in an effort to show that this Festival is not about being exclusive to the Latin Community, but is simply a festival to celebrate the diversity of work created in and by the Latin Community. Our Non-Latin Choreographer is always something we look forward to on the program and each year it's always a difficult decision -- last year we had C.Eule Dance and that was just a favorite on the program! I can't wait to view the submissions! We have such a great response from The Latin Community but we really want to share with everyone -- we want everyone to participate and enjoy this exciting Festival! "
Past years programming has included choreographers from Mexico, Colombia, Puerto Rico, Cuba, Costa Rica, Ecuador, Chile and Spain , as well as local companies here in NY, Benjamin Briones Ballet, exit12 Dance Company and Pedro Ruiz.
Copyright©madamebnyc.blogspot.com
"AND DON'T YOU FORGET"
Choreography & Dancing: Felix Cruz
Photo By: Rachel Neville
"CALLES OSCURAS"
Choreography: EDDY BORGES
Dancers: Karina Teran & Ned Kinter
Photo By: Rachel Neville
"SOLO TU, SOLO YO"
Choreography: Pedro Ruiz
Dancers: Ursula Verduzco & Jacob M Warren
Photo By: Rachel Neville
Dance Magazine
The Latin Choreographers Festival 2010
Dance and the City
By Abbey Stone
July 2010 Edition
Dancer/choreographer Ursula Verduzco put her vision for Latino choreographers into action when she founded the Latin Choreographers Festival in 2008. A vehicle for showcasing both veterans (like Pedro Ruiz) and newcomers (like Jaciel Neri), the festival has welcomed dance artists from Mexico, Colombia, and Cuba as well as the U.S. Verduzco gives them a forum where they can shake loose from Latino stereotypes. July 16–18 at the DNA Theater. See www.latinchoreographersfestival.com
In our words
By Elaine Stuart
July 2010 Edition
Ursula Verduzco
Dancer and founder/curator of The Latin Choreographers Festival
Brooklyn, NY
I’ve been cast as Spanish in Nutcracker since I can remember. In one way, I can take it as a wonderful compliment. And I find that I really enjoy it. I think there is something in my blood that works with that music and that passion. But sometimes I would like to try other things. There is a stereotype that comes with the word ‘Latin’ that the world of dance in general is very stuck with. When you talk about Latin dance, immediately you go to this image of the folk dance or the folklore of the country. Every choreographer—every Latin choreographer, too—has their own vision of movement, their own vision of expression. So in my festival [see “New York Notebook,” page 24] I was interested in opening up the eyes of people to see what the Latin community can bring that is not the stereotypical image. And the audience was very happy with it. The choreographers say whatever they want to say in very different ways, and most have nothing to do specifically with their Latin background. So I think people were excited to see that—and very surprised
"BETWEEN US"
Choreography & Dancing: Fernando Troya
Photo By: Rachel Neville
"HOMECOMING"
Choreography: Roman Baca
Dancer: Lara Vilches
Photo By: Rachel Neville
"UNDAMELY"
Choreography: Frances Ortiz & Ted Thomas
Dancers: Amanda Gavan & Therese Wendler
Photo By: Rachel Neville
"DUETO"
Choreography: Annabellaa Gonzalez
Dancers: Lucia Campoy & Jorge Fuentes
Photo By: Rachel Neville
"JUST GETTING THERE"
Choreography:Ursula Verduzco
Dancers: Minna Lawton & Jake Warren
Photo By: Rachel Neville
"ZAVAVY"
Choreography: Benjamin Briones
Dancer: Steven Melendez
Photo by: Rachel Neville
