Nac Dance With Cathy Levy

In this first of 2 episodes of a bilingual podcast, we meet the 5 artists featured in the National Arts Centre's 2015 Face 2 Face series, Experiences of Africa. They speak of their background and how they came to work in dance.

National Arts Centre Executive Producer of Dance Cathy Levy speaks with Lourdes Lopez, Artistic Director of Miami City Ballet, shortly before the company’s March 5-7, 2015 NAC presentation. Lourdes talks about her early introduction to ballet and her 24-year career with New York City Ballet where she danced under the legendary George Balanchine and Jerome Robbins. A brief career in television follows. She then leads The George Balanchine Foundation and co-founds the innovative dance company Morphoses with Christopher Wheeldon. In 2012, she succeeds Edward Villella at Miami City Ballet. Lourdes outlines her goals and long-term plans for the company and describes a typical day in her life as artistic director. Lourdes Lopez, Miami City Ballet La productrice de la Danse au Centre national des Arts Cathy Levy s’entretient avec Lourdes Lopez, directrice artistique du Miami City Ballet, avant les représentations de la compagnie les 5, 6 et 7 mars 2015 au CNA. Mme Lopez parle ici de son introduction à la danse et

Cathy Levy talks with Virginia Johnson, artistic director, founding member, and former principal dancer of the Dance Theatre of Harlem. They discuss her career, the life of the dance company, the school, founding Pointe Magazine, and becoming Artistic Director of Dance Theatre of Harlem.

Cathy Levy chats with dancer-choreographer Kyle Abraham who was at Canada’s National Arts Centre in February 2014 to perform The Radio Show with his company Abraham.In.Motion. Kyle talks about his childhood in Pittsburgh, Pennsylvania, and how his passion for music led him to dance. With the support and guidance of his parents and teachers he pursued dance studies and eventually joined David Dorfman Dance and Bill T. Jones/Arnie Zane Dance Company. Kyle explains how The Radio Show, originally conceived as an homage to his father, also became a tribute to the Pittsburgh radio station WAMO. He then reflects on the accolades and awards he and his work received in late 2000 in the form of a Bessie Award and an important mention in Dance Magazine, as he and his company were struggling. Kyle Abraham also talks about his collaboration with world-class ballerina Wendy Whelan as well as the significance of receiving a MacArthur Foundation Fellowship, being named the 2012-2014 New York Live Arts Resident Commissioned A

In this third and final episode, Aakash Odedra describes his projects in development, including Murmur, an exploration of dyslexia through dance and technology, and Inked, a solo created in collaboration with French-Belgian choreographer Damien Jalet, about the markings on the body of Aakash’s grandmother. In closing, Aakash explains his need to balance life on and off the stage.

In this second of three episodes, Aakash talks about his first encounter with celebrated British dancer and choreographer Akram Khan and how their meeting changed the course of his destiny. In 2011, Akram and world-renowned choreographers Sidi Larbi Cherkaoui and Russell Maliphant each made a solo for Aakash who also contributed his own work to create the full evening program Rising. Aakash then speaks of his involvement in the choreographic project James Brown: Get on the Good Foot.

In this first of three episodes, Cathy Levy speaks to the up-and-coming young star of British dance Aakash Odedra who performed Rising at Canada’s National Arts Centre in February 2014. Aakash describes his early obsession with dance and the degree to which his family recognized his gift and supported him. He explains how he trained in the classical Indian dance styles of Kathak and Bharat Natyam in India and the United Kingdom, never differentiating between dancing and choreography.

In this final episode, Akram Khan explains the origin and development of his first full-length solo piece, the autobiographical DESH, which took him and his team of close collaborators including Tim Yip, Jocelyn Pook, Michael Hulls and Karthika Nair to Bangladesh, the homeland of his parents. He then reveals his intention to create one last solo work. In closing, he describes how the experience of choreographing a section of the London 2012 Olympic Games Opening Ceremony altered the way he looks at creation.

In this second episode, Akram Khan describes his fascination with learning about the science of movement and the similarities and contradictions of ballet, contemporary dance and kathak. This exploration leads to the development of his signature style and the creation of a short solo followed by a more substantial piece that attract media and public attention. Akram comments on his jewel relationship with Farooq Chaudhry, producer and co-founder of Akram Khan Company, and his collaborations with Sidi Larbi Cherkaoui, Israel Galván, Juliette Binoche and Sylvie Guillem.

In this first of three episodes, the celebrated British choreographer-performer Akram Khan talks about his very early training and performing in kathak, the north Indian classical dance form. At the age of 10 he joins the acting cast of the stage adaptation of Rudyard Kipling’s The Jungle Book, and at 13 he tours the world with Peter Brook’s The Mahabharata. His return home at 15 is followed by an extreme and solitary journey into dance. While seeking admission to the contemporary dance program of De Montfort University in Leicester (UK), he discovers the work of Pina Bausch and DV8. This first exposure to contemporary dance leaves him shocked.

In this third and final episode, Emily Molnar describes the tremendous opportunity she saw in heading Ballet BC at a turning point in its history. She outlines the three-year plan she developed before taking on its artistic directorship out of concern for its survival and place in the dance landscape of British Columbia and Canada. She attributes the success achieved to date to a small but strong group of highly committed individuals willing to reevaluate everything. Since July 2009, Ballet BC brought in 28 new works into its repertoire and implemented a successful resident-choreographer program. In closing, Emily defines her life-long fascination with the potential of the body and the expression of the body. And, prompted, she sketches her next three-year plan for Ballet BC.

In this second of three episodes, Emily Molnar speaks about the difficult decision of leaving Frankfurt Ballet, as she was turning 26, to branch out on her own. After contemplating quitting dance altogether, she chooses to become a principal dancer with Ballet BC where she interprets many roles, guided by then artistic director John Alleyne, including Puck in the production of The Fairie Queen. Emily talks about her work as an independent choreographer for, among others, Alberta Ballet, Ballet BC, and Cedar Lake Contemporary Ballet, and the tricky process of creating commissions. She mentions her collaboration with Gioconda Barbuto to make and perform the duet Lifelines, and describes the huge influence of her mentor, Canadian dance icon Margie Gillis. In 2009, Emily accepts the artistic directorship of Ballet BC at a time when the company’s financial difficulties have brought it to a halt.

In this first of three episodes, Cathy speaks to Emily Molnar, Artistic Director of Ballet BC, the day after the company’s return to the National Arts Centre Southam Hall stage following a 10-year absence. Emily recalls her early dream of becoming a prima ballerina; her training at the National Ballet School; and her subsequent four years at the National Ballet of Canada where she was discovered by William Forsythe commissioned by The National to create The Second Detail. At 21, Emily relocates to Germany to dance with Frankfurt Ballet. She describes the intense learning curve she faced and the incredible experience of working with William Forsythe, its famous artistic director, at a time when his company is taking the world by storm.

In this final episode, Stanton Welsh speaks about his full-length classical ballet Marie based on the life of the legendary 18th-century French queen Marie Antoinette. He comments on the task of finding new talent, and describes the Houston Ballet Center for Dance, the company’s new state-of-the-art facility. In closing, he reveals his next choreographic project and his 10-year plan for Houston Ballet.

In this second of three episodes, Stanton Welch shares his impressions of Houston, Texas, its people and its arts and culture. He touches on his artistic vision, comments on his dual role of choreographer and artistic director, and tells us what he looks for in a dancer.

In this first of three episodes, Stanton Welsh, Artistic Director of Houston Ballet, reminisces about his youth in Australia, his ballet training, and his career as a dancer. Since turning to choreography in 2000, he has created an impressive number of works. He was appointed Artistic Director of Houston Ballet in 2003. Stanton speaks of the company’s early years, its unique place among American ballet companies, and the immense contribution made by its first Artistic, Director Ben Stevenson.

In this second of two episodes, Masazumi Chaya talks about the 21-year tenure of Judith Jamison –former star dancer and muse to Alvin Ailey– as Artistic Director of Alvin Ailey American Dance Theater. He describes his own 40-year contribution to the company as well as his future plans, and speaks about the company’s touring and pioneering in the fields of outreach and education. In closing, he talks about Robert Battle, AAADT’s current Artistic Director.

In this first of two episodes, Masazumi Chaya, former dancer, rehearsal director and current Associate Artistic Director at Alvin Ailey American Dance Theater, reminisces about his young life in Japan, his move to New York City in 1970, and his early years at the company. Chaya shares fond memories of the American contemporary dance icon Alvin Ailey and his fabled dance creations, including the critically-acclaimed and enduring Revelations.

In this second of two episodes, Marie Chouinard reacts to the view that her early solo work was provocative, and that she pushes her dancers to extremes, referring in particular to bODY_rEMIX / gOLDBERG_vARIATIONS. She talks about her latest choreographic achievement, THE GOLDEN MEAN (LIVE), which premiered at the Vancouver 2010 Cultural Olympiad, and about her collaboration with Montreal composer Louis Dufort. In closing, Marie touches on her dual role within Compagnie Marie Chouinard.

In this first of two episodes, we are introduced to Marie Chouinard, choreographer and Artistic and Executive Director of Montreal-based Compagnie Marie Chouinard and NAC Associate Dance Artist. Marie describes her fascination with the human body and recalls her introduction to dance and choreography, explaining that her 15-year solo career began with a chance meeting with Dena Davida. Marie then tells us about her transition to group works and describes her creative process.