Gustavo Ramirez Sansano, at the youthful age of 31, has been chosen as the New Artistic Director of Luna Negra Dance Theater in Chicago. Born in San Fulgencio, Spain Mr. Sansano has danced with companies such as the Ballet de la Comunidad de Madrid, directed by Victor Ullate, Netherlands Dance Theater II, directed by Gerald Tibbs, and Hubbard Street Dance Chicago, formerly directed by Jim Vincent.

He has been directing his own company in Spain called TITOYAYA Dance Project for the past four years and has won many awards for his choreographic work. Mr. Sansano has worked previously with Luna Negra creating Luna De Miel( 2003) and Flabbergast(2001).

Although he will not join the company until June 2010, this is an exciting new step for Luna Negra Dance Theater.

Check out this work created by Gustavo Ramirez Sansano and Mario Zambrano

An article in the NYTimes about Sidi Larbi’s choreographic work.

Ethereal, Abstract, Pop and Radiating Peace
by ROSLYN SULCAS

The way this choreographer thinks and speaks is a real inspiration.“I’M meditating,” says the calm voice of Sidi Larbi Cherkaoui over the plangent sounds of Tibetan music at the other end of the phone line. There is a pause. More music. “Please.” Another pause. “Leave a nice message.” Read more

Sidi Larbi and The Shaolin Monks

“Fondly Do We Hope”  is the title of Bill T. Jones’ new full evening work about Abraham Lincoln. Read more about it in the this LA Times Article.

Check out Hubbard Street Dance Chicago’s Review for their season at The Harris Theater premiering Jorma Elo’s new work “Bitter Suite”.

Also, in the NYTimes today, an article about three new pieces choreographed  by Aszure Barton, Benjamin Millepied, and  Alexei Ratmansky for American Ballet Theaters season at Avery Fischer Hall( A Music Hall).

A Tribute to Four Dance Icons

Today is the last day of September, and as the weather starts to change in many places in the northern hemisphere I thought it would be a good time to look back at a few great dance icons who are no longer with us; Pina Bausch, Merce Cunningham, Patrick Swayze, and Michael Jackson.
Here are Four Short Experiences I’ve had with each of these Icons:

Patrick Swayze

Most people fell in love with Patrick Swayze in the movies Dirty Dancing or Ghost, but I think the first time I ever fell in love with him was in this SNL skit. It was the hair! Here is a great article telling 10 of Patrick Swayze’s Life stories.

Merce Cunningham

I was 14 years old when I first saw The Merce Cunningham Company. I was visit­ing New York City with my Aunt Georgene, who took me to all my dance classes from the time I was 8, when she heard that Baryshnikov was performing at the State Theater that night. She knew that it was a once in a lifetime performance, so we saw it.

That evening after running around NYC, I sat next to my aunt in the center of the State Theater watching the show and anticipating seeing Baryshnikov, but what I didn’t know was that the dancer I would remember most was not Baryshinikov but Merce Cunningham.

Bi-Ped was the first piece. If you haven’t seen it, it is a masterpiece of mathematical genius and technological innovation. At the time, however, I thought I had just stepped into a dance science-fiction film. I was overwhelmed by the dancers, the music and the shapes of bodies that were moving on the screen at the front of the stage.

As the performance went on though I dozed off, as I usually do while watching Cunningham’s work (not because I don’t love the genius of it, but because it sends my mind into such a rythmic trance that I begin to dream). I was awoken by a sharp elbow from my aunt and the sound of clapping, but luckily I hadn’t missed Baryshinkov.

So, The next piece began and I saw a very old man holding onto a bar and Baryshnikov on stage. At first, being young and stupid, I thought what the hell is going on?  How are these two going to be able to do anything close to dancing?  But then the old man began to move like lightning. I don’t actually remember anything that Baryshnikov did, I only remember this old man barely holding himself up, moving his arms, back, and head with such maddening ease and speed that I couldn’t take my eyes off him. I can’t remember the music or the set or anything else at all about the piece. I just remember him, Merce Cunningham, 80 years old, moving like an animal, taking my breath away.

Here is an article in the Brooklyn Rail with a few of his dancers talking about their experience with Merce.

Pina Bausch

While I was studying at the Juilliard School, Pina Bausch came to talk to my class one day.
Mrs. Bausch came into the dance studio wrapped in layers of clothing with a cunning but warm smile. She walked with floating steps to the front of the room and began speaking in a slow, even tone about dance and choreography.

I was completely in love with this women even though I was unaware of how she had revolutionized dance. Every eye in the room was on her, every ear was listening and every mind was fo­cused. I was so struck by her and so focused at the time that I actually remember very little of what was said.I did manage, however, to hold on to one simple idea.

When speaking about her choreographic process, Mrs.Bausch emphasized that she only kept the movement she truly loved. She said that she had to examine the dance over and over again before deciding if she loved it or not, but if she realized she didn’t love it she would take it out. She said that getting rid of it was the hardest thing to do and the only way to keep the movement pure and true.

Looking back, I think Mrs.Bausch was talking just as much about life as she was about dance.  If we keep the things we truly love we might enjoy life a little more.

Michael Jackson

The first time I ever heard Michael Jackson was when my dad pulled out The Jackson Five album from his bookshelves of records and played it on the turn table. The re­cord had been played over and over before, so there was a thin layer of static under the powerful and sweet voice. My mom started to do the mash potato in the living and we all just began dancing around the house. I think I was four, and I haven’t stopped dancing since that moment.

If you have an experience you would like to share about any of these dance icons, email it to me at greendancers@greendancers.com or write a comment.