COW
Choreography: Alexander Ekman
Music: Mikael Karlsson
Premiere 2016 Dresden SemperOper
Watched; 9 / 02 / 2017
**blue = ethical procedures
**in pink = relation to Critical Review/Artifact
I had been longing to watch the work of my favourite choreographer for some years now, and here I was today watching his thrilling creation of COW performed by the Ballet Company of Dresden SemperOper.
I would not describe this as a ballet performance, but more as Spectacle of Entertainment in all its sense and glory. I highly recommend to everyone to look into Ekman's work, as I feel it is the best example of what kind of choreographic work is made today.
Alexander Ekman has worked with numerous ballet companies around the world in cities like, Dresden, Dortmund, Atlanta, Sydney, Wellington, Stckholm, Houston and many others, after his most famous creation of Cacti which he had first choreographer for the Netherlands Dance Theatre 2 in 2010. He is therefore used to choreographing on dancers with a high level of classical technique, which is present in all his work among many other elements in is work.
COW was an abstract, yet very literal representation of.. a cow. A cow (a fake one..although it is said that ekman wished for a real cow to be on stage at first) hanging from string and elevated in air in front of the curtains before the performance began.
In this piece, Ekman aims to 'cut the drama out of the ballet', and show just the movement, 'like a cow'.
https://www.youtube.com/watch?v=Adcgf_T3JkI&index=1&list=PLRNygdt8LGrH56enK8W5ZVWCZsoCrUugr
In relation to my Inquiry about exploring how far this artform has evolved and how much further it can be pushed, observing the ways that Ekman has been able to work with the dancers in creating this piece, has been enlightening since I noticed a wide range of demands that the dancers had to, and were very successfully able to live up to. Indeed, as he mentions on the video footage below, he 'is playing with stepping in and out of ballet'.
What this piece required:
-use of vocals
not just in the sound of their breath, but in terms of spoken language, screaming and laughing as well.
-->> from experience, I find that as a dancer I am used to express myself in movement solely, since I had been taught in this manner in my vocational training. However, as a professional, the bar raised, and dancers are required to do much more than just follow choreography.
-Use of improvisation
both in movements and in speak.
-->> again the dancers' creative input is very vital especially for the work that is created nowadays. Improvisation creative collaborations is present among choreographic works by Alexander Ekman, William Forsythe, Sidi Larbi Cherkaoui and Ohad Naharin. These are big names that make up the choreographers of our generation.
-->> Therefore, I ask why isn't more encouragement and opportunity given to young dancers at schools to explore there creative side?
-humour in an unconventional way.
-->> Alexander Ekman as a Swedish choreographer, who often approaches his work with a sense of Scandinavian humour, dry and very sublet yet in an obvious manner unlike the Brits one may say. I feel that Personality is a big trait that a dancer of our generation should have, as well as open-mindedness to be able to approach choreography that is not just displayed in steps but in emotions and abstract ideas.
-audience involvement
-->> Ekman was able to communicate with the audience, not just through the use of speech and movement, but through the use of questions!!! It reminded me so much of the procedure I took when doing Module 2! While two male dancers, where dancing simultaneous to their own rhythm, no melody, questions where literally raised on the backdrop. One is specific was
'Does this move you?' > it was an ironic play on what we were watching yet very effective in the way it made us perceive his work.
-use of props/scenery and the stage.
-->> I would say that the use of stage was the most impressive of the performance. The floor was able to lift 5 meter above it usual altitude, as well as form slopes and different levels. Blocks of the stage would go up and down while dancers where dancing on it, really showing the skill and bravery that a dancer should have these days in order to take such risks. In addition, one of the male dancers had to repeatedly run and crash only to a 'wall' that was made as part of the scenery, and scream as he is falling. He was wearing a helmet, as part of his costume, but this was not more that just an abstract idea that Ekman had created for the opening number of his work.
-->> with this in mind, dancers are expected to take more risks, just the way choreographers are taking risks in pushing the art form forward as they see it in their eyes. However, simultaneously, more precautions are taken by the theatre in order to insure the dancers' safety when performing these ballets. In fact, I was told a 'danger pay' is included for every dancers involved in COW, which could contribute in the worst case scenario of an accident, however it is important that technical and medical staff is always present at times of a performance.
-->> This company is very lucky, to have the facilities and strong financial support to be able to carry these procedures. This as well as the specific requirements of the ballet COW, like the stage moving and the expenses to carry out such a performance, are what make me believe that this will be a ballet that is unique to SemperOper.
-->> This also puts me into the position to take into consideration the companies which I am taking about or the dancers I will be interviewing. What is their situation, culture status, repertoire history?Through Qualitative research and analysis, I feel that any data, opinion, knowledge I collect through interviews will depend strongly on the background of the dancer and what company/country they work in.
Qualitative research 'enables the researcher to understand and capture the point of view of other people without predetermining those point of views through prior selection of questionnaire categories' - Patton, 2002 (p.21)
-commitment to Unconventional choreography.
-->> Some parts you could not put a label on it. Perhaps this is the beauty. We have come so far with our imagination that we no longer are able to justify what 'type' of dancing it is. Tap, ballet, contemporary?? Ofcourse there are influences but choreographers are now able to create their own signature through their imagination. This is a big issue in tackling my research as I am finding it very hard to distinguish what the term 'contemporary' means. Therefore, I decide that this would be a very interesting question to ask my interviewees that will be taking part in my research in determining the future aspect of ballet. I have decided to describe the work created in the past decade as 'recent' as I believe this will be more appropriate especially when I want to be specific.
-Strong Classical Technique!
'playing in and out of ballet'
-->>This is a valuable observation. Although the choreography was so fearless, with all the elements of theatre, speech, contemporary technique, this show could not have been done if the dancers did not have the background and strong technique in ballet. Indeed, certain parts required the use of pointe work for the ladies and partnering skills for the men. The dancers where also able to apply their technique into the choreography, where it would be demanding (ei: lifting the legs, pointing the feet, executing high jumps) . -->> I believe this emphasizes the importance of maintaining the classical Ballet technique.
-->>I believe Ekman here also plays with this Idea of ballet formality in a form of juxtaposition - this could be perceived as he is challenging the art form, taking risks etc. I personally believe this is not an intention he goes for in this ballet, but just a game that develops into creating a show. This may be done unintentionally, but this could also be another opportunity to open new door for further ideas; for himself, the theater, or influencing other choreographers in turn.
Modern or 'recent' ballets are becoming more popular among ballet companies especially in the Western countries like Germany, the UK and the US among others. Through some interviews I have already taken, I have gathered an appreciation from the dancers as well as an excitement from the audience (example: ENB - review of their most recent tripple bill - https://www.theguardian.com/stage/2017/mar/24/english-national-ballet-review-pina-bausch-rite-of-spring-sadlers-wells) but along with it, a concern that puts the classical ballets on the spotlight.
how will classical technique change within the coming years, and how will this transform ballet and the classicism that we have been carrying throughout the years?
ESTIMATIONS after seeing this performance:
-physicality, athleticism and stamina will perhaps be more present in dancers to be able to carry the challenging choreography.
-As well as new works; remakes and new versions of ballets are being made.
-->>what is kept from the traditional ballets and what is dropped/transformed to today's prospects?
-->> what determines this changes?
-->> what does this mean?
-Competition rises as challenge increases. Dancers are expected to be multi talented? Versatile? Creative?
Linked with more literature and data collected from my inquiry tools I hope to really develop my idea on the future of dance and what it holds for the next generation of dancers!
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