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miliosr

Limon Dance Company

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I'm really looking forward to the casting for BRB's performances of The Moor's Pavane.

Jennifer Scanlon is staging it and she learned it directly from Limon. So, the "text" should be true.

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Scanlon does an excellent job staging, especially when working with dancers who do not have a significant amount of training in the style.

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The Times reviews the Limon company's performance of the reconstructed Dialogues (from 1951):

http://www.nytimes.com/2016/02/22/arts/dance/review-limon-dance-company-reconstructs-its-founders-dialogues.html?ref=dance&_r=0

(Limon would return to the second section of Dialogues again in 1972 when it became part of Carlota.)

And Carla Maxwell discusses reconstructing Dialogues:

http://www.dance-enthusiast.com/features/view/Dialogues-Carla-Maxwell

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Sounds like they're still doing justice to the repertory.

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How interesting -- it reminds me a bit of the current project the Graham company has embarked on, commissioning new works from contemporary choreographers in response to iconic works in the historic rep.

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Happy Birthday wishes to Betty Jones (a founding member of the Limon Company in 1946 and the original Desdemona in The Moor's Pavane), who turned 90 last week! She continues to teach Limon technique to this very day.

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I guess this is Moor's Pavane season:

 

  • Birmingham Royal Ballet will continue to perform it this Fall as part of their mixed Shakespeare bill.
  • The Richmond Ballet is performing it this week on a double-bill with a new Melissa Barak work.
  • Also this week, French choreographer Aurelie Berland will be showing her work-in-progress response to The Moor's Pavane.

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"Also this week, French choreographer Aurelie Berland will be showing her work-in-progress response to The Moor's Pavane."

 

Hadn't heard about this -- a very interesting idea.  I hope someone here will be seeing it, and post their observations.

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On 9/21/2016 at 11:41 AM, sandik said:

"Also this week, French choreographer Aurelie Berland will be showing her work-in-progress response to The Moor's Pavane."

 

Hadn't heard about this -- a very interesting idea.  I hope someone here will be seeing it, and post their observations.

 

Did anyone see anything about this?

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14 hours ago, sandik said:

 

I had no idea -- fascinating!

I would be very interested in knowing what the basis is for the reconstruction of the choreography. I wasn't aware that it had ever been maintained in any kind of representational form.

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1 hour ago, miliosr said:

I would be very interested in knowing what the basis is for the reconstruction of the choreography. I wasn't aware that it had ever been maintained in any kind of representational form.

 

Well, it sounds like there are some kind of notes available -- from the Playbill article:

 

"The Army packaged and distributed them as a complete script, score/orchestrations, scenic and costume drawings, along with instructions for how to put on the show. "

 

I would guess, just from this statement, that the "instructions" include something about the dancing, but like you, I really want to know what this is.  Let me ask around a bit.

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I consulted my copy of Jose Limon: An Unfinished Memoir (1999). In the Works Choreographed by Jose Limon section (compiled by Lynn Garafola), there is an entry for Hi, Yank! listing music and lyrics by Frank Loesser and Alex North and choreography by Jose Limon. It premiered at Fort Dix, NJ in 1944. A note states: "Among Limon's contributions was the choreography and dance direction for the 'Caribbean number'"

 

In the Films and Recordings section of the bibliography (compiled by Melinda Copel) , there is no mention of any film corresponding to Hi, Yank!

 

So, I'm still not sure on what basis the Limon company will be reconstructing the dances. Maybe there was some kind of primitive notation included in the source documents found?

Edited by miliosr

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Honestly, I doubt that there was a notated score -- it sounds like this was packaged for wide distribution to military installations.  The people available to stage it likely didn't have extensive professional experience.

 

I have a feeling that this might resemble some of the movie musicals of the period that included set pieces by military choirs -- they could sing and march at the same time, and all the rest was camera angles.  But a "Caribbean number" might require more skill...

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This weekend will be a busy one in Limon-world.

 

8 dancers from the company will be performing at the Wallis Annenberg Center in Los Angeles on the 24th and 25th. The repertory will include three Limon works -- Chaconne (1942), Concerto Grosso (1945) and The Moor's Pavane (1949). In addition, the program will feature artistic director Colin Connor's Corvidae (2016) and Kate Weare's Night Light (2014).

 

Meanwhile, another 4 dancers from the company will be performing at the American College Dance Association conference at Kent State on the 25th. The program will feature Limon's Chaconne (1942) and The Moor's Pavane (1949).

 

Finally, the Dance NOW! company in Florida will be performing Doris Humphrey's rarely-seen dance Ritmo Jondo (1953) on the 24th.

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Sidebar -- Dance Theater of Harlem is currently dancing Caconne on tour -- I didn't get to their recent show in Seattle, but friends who did said they were lovely.

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Limon's Spring season at the Joyce begins tonight (4th item on list):

 

https://www.nytimes.com/2017/04/27/arts/dance/dance-in-nyc-this-week.html?rref=collection%2Fsectioncollection%2Fdance&action=click&contentCollection=dance&region=stream&module=stream_unit&version=latest&contentPlacement=2&pgtype=sectionfront&_r=0

 

Intrigued by two different versions of The Exiles -- one with the original Schoenberg score and the other with a new score.

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I would love to see Birmingham Royal Ballet in The Moor's Pavane especially since they can cast from strength and field three different casts. Maybe for the 70th anniversary of The Moor's Pavane in 2019 the Limon company can invite them as guests for any New York season! (Fingers crossed, anyway.)

Edited by miliosr

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