Mondays 8:15 -9:30 pm $85 lruuucrors: Yac:ov Sharie and Andrea Arid Saturdays 11:30 ­I:00 pm Irucructor: Andrea Ariel $78 Wednesdays 7:00 -8:15 pm Instructor. Kacc Wancn $85 Saturdays 10:00 ­11:15 am Instructor. Kare Warren $78 Tuesdays 5:15 • 6:10 pm Inruuaor: Anlas Khalsa $85 For more information contact Director Kate Warren at 499-0720 or Sharir Dance Company at 320-8704. The Sharir Dance Company School invita fine-time students ID attend one free class wich tlUs ad. Thanksgiving holidays N~mber28 -30. Phoiography: Jonathan L:atherwood. The Austin Chronicle September 6, 1991 // *THE AUSTIN* I DANCE September 6, 1991 SHARIR DANCE COMPANY SCHOOL is now registering students for its Fall 1991 semester Which begins Sept 16. Classes include modern and jazz techniques, Choreography and composition. body condilJOnfng and yoga. For more Information. call School Director Kate Warren at 499·0720, or the Sharir Dance Company office at 320-8704. Rtgistr11rio11 Complete and mail to: Sharir Dance Company P.O. Box.339 Austin, TX 78767 PkiUr print ckarly. Name Addtcss City Zip Day phone Evening phone Course chic fee 20% discount for 3 or mo~COWSC4---------­ D Enclosed is mycheck payable: to Sharie Dance Co. D Please charge my 0 Mutc:cCatd 0 Vua. Exp. date Signarurcon ca:d The: Sharir Dance: CompanySchool iovitQ fim-timc: 6tudcna ro atccncl one free: class with this ad. SHARIR DANCE COMPANY SCHOOL FlliJ 1991 Synergy Scudio I 501 West 5ch St. lkt;rming Modern Mon./ Wed. 6:00-7:00 pm $169 Sept. 16-Dec. 11 lnmucror. Kathy Dunn Hamrick ln~eMotkrn Sarurdays 1:00-2:15 pm $18 Sept. 21 -Dec. 14 Instructor: Andrea Ariel Int. I AJwmatiMotkrn M~ndays7:00-8:15 pm $85 Sept. 16 -Dec. 9 Instructor: Yacov Sharir ChnwogT11phy I Composition Mondays 8:15 -9:30 pm $85 Sept. 16 -Dec. 9 Inscrucrors: Yacov Sharie and Andrea Arid ln1n71Udi11u]llZll: Sacutdays 1 I :30 -1:00 pm $78 Sept. 21 -Dec. 14 Instructor: Andrea Arid lGdls It/NI W°'*o11t Wetin.ntiAy Wednesdays 7:00 -8:15 pm $85 Sept. 18-Dec. 11 frurruetor: Kate Warren KAt~s Jdozl WOrko11t SdturdAy Sarurdays 10:00 -11 :15 am $78 Sept. 21 -Dec. 14 Instructor: Kate Warren Kurultdini ~g.r Tuesdays 5:15 • 6:10 pm $85 Sept. 17 -Dec. 10 rnscrucror: Ardas Khalsa Single classes and bulk races arc also available. For mo~information contact Director K~ue Warren at 49?-0720 or Sbarir Dance Company at 320-8704. Tha.oksgiving boliclayg November 28 -30. Photography: Jonathan Leatherwood The Austin Chronicle September 13, 1991 7 Saturday, September 28, 1991 Austin American-Statesman Jose Luis Bustamante Is one of three cho­reographers selected as finalists for the Dewar's Profiles Performance Arts Award. • Jose Luis Bustamante doesn't drink Scotch, but his tastes may change soon. Ifall goes well in New York City Oct. 30, he just might raise a glass in celebration. The Austin dancer/choreographer is one of three choreographers selected na­tionwide as finalists for the Dewar's Profiles Performance Arts Awa.rd. Five artists. one each to represent the cate­gories of jazz piano composition, classi­cal solo voice, choreography, poetry and acting, will be selected as recipients of the $10,000 award. The competition, conducted by the American Council for the Arts, is sponsored by Dewar's "White Label" Scotch Whisky. By reaching the finalist phase. Busta­mante already has won a $1,000 cash prize and a free trip to New York City to present his choreography in the com­petition performance at the Equitable Center. "I found out that. I was a finalist about three weeks ago," Bustamante said, "but the sponsors wouldn't let us announce it until recently." Nevertlieless, fellow meml>ers of the Sharir Dance Company knew something was up when a film crew from the Bra­ vo television network followed Busta­ mante around during evening rehearsals last week. "They filmed me all day last Tues­ day," Bustamente said. "They watched me in rehearsals, choreographing the company, interviewed the dancers I work with and even staged shots of me walking down Sirth Street." If Bustamante wins the final competi­ tion, he will be featured in the Bravo network's documentarv about the award&, tentatively scheduled t-O air next spring. The television special will show competition highlights inter­ spersed with background clips on each winner. The Dewar's program is dedicated to helping emerging artists age 25-40 in to­ day's difficult financial climate. Nomi­ nations from three regions -Eastern, Central and Western -were submitted by designated leading artists, educators and critics in each area of expertise. Se­ lection panels in each area then re­ viewed all entries and narrowed the group to three finaJi.~ts. one in each re­ gion per category. Bustamante is the choreography fi­nalist for the Central region, where he competed against 100 other applicants. "I initially submitted videos of two different dances, and after I won the re­gional competition, I had to pick one dance to perform in New York. I decid­ed to take Sedition/Seduction because it best represents Texas artists. I will dance, Tina Marsh sings and appears onstage with me, and the music was written and performed by Ellen Full­man. The work is set to a text by Cece­lia Bustamante (no relation)." Seditum/Seduction was premiered by the Sharir Dance Company in 1989 and will be included on the company's up­coming performance Oct. 9-12 at Capi­tol City Playhouse. Bustamante fans can see for themselves what the ACA judges will view later in the month. And if you miss the local perfor­mance, maybe -just maybe -we'll all get a chance to see Bustamante on tele­vision next spring. Or, at least read his "Dewar's Profile" in one of those slick magazine ads. I hope so. Wednesday -Saturday, October 9 -12, 1991, 8:00 PM Capicol City Playhouse, 214 Wesc 4TH Streec General Admission: $IO, Senior Citizens: $8, Scudents: $6 Ticket Information: 320-8704 The Austin Chronicle October 4, 1991 ARTIST ROBERT LEVERS INTERVIEWED • RESTAURANT POLL BALLOT *THE AUSTIN* October 4 1991 DANCE SHARIR DANCECOMPANY'S '1'H ANNIVERSARY SEASONbegins wi1h lour petfonnances at Capitol C.iy Playhouse, Wed hough Sat. Oct 9-12. at 8pm. Sharit's special guests lor Ille Miiling include COrnp<>sefS Tiii& Marsh and Elen Fullmal'I. Tickets are $10/gen adm., $8/seniols, $6lsludants. Cal 320-8704. The Sharir Dance Company Sd1ool is now condUcling its fal session. Classes offered are Beginning, lnlen'neOate and lnUAdvanoed Modem. Jazz. Choreography and Compositioo, Kundaini Yoga and Kate's Ideal WOOeulpture on wheels. Santos wore a shoulder harness attached by fat ropes to the "moon" (as the program notes described Timk:o's art), and he slowly dragged the heavy set across stage while partnering Saenz. The "moon" overpowered the dancers by its sheer size and composition. There was no literal lunar aspect to the sculpture's de­si~, jutrt shapes representing an­imal beads and human arms and legs (some upside-down) stuffed into a cart. The work lost some of its impact coming immediately after Sedition,Seduction where the idea of a dancer being harnessed to a rope had been already explored. Derp Listening opened the pro­gram, a well-danced post-modem work b~· Sharir set to Pauline Oliveros' score, and the evening closed with Bustamante's playful Mjgrating We4Jhts. The entire comµan; bounded onstage full of fun and friskiness, this time free of restricting costumes or props. Migrating Weighu was the most aC<"eSSible work on the program and my favorite. Perhaps it was just the sheer athletic movement, the rhythmic score by Paul Lansky or the fact that the danc­ers were dribbling each other around like basketballs. • The Austin Chrooklc October 11, 1991 25 Austln Amerrcan-Statesman Saturday, October 12, 1991 The Sharlr Dance Company will perform four works at Capitol City Playhouse at s tonight. Original dance The Sharlr Dance Company performs four works at Capitol City Playhouse at 8 tonight. The works are by resident choreographers Yacov Sharir and Jose Luis Bustamante. Tlckets are $6, $8 and $10. For information call 320-8704. 0 This section is recyclable Saturday, January 4, 1992 Austin American-Statesman 13 1991 saw dance grow in Austin modern dance. With the start of the new cal­Europe and Isreal. Llory Wilson from Seattle and endar year, one is reminded that 1991 marked collaborative ven­Liz Lerman from Washington, dance seasons run traditionally tures among several other compa­D.C., showed us how to expand from September through May. nies in town including joint our view of ~ceboth physically However, glancing back over performances bv Austin Contem­and chronologically, Wilson withdance events of the past 12 porary Ballet and Roy Lozano'sher gymnastic performers and months, it's obvious that the Ballet Folklorico, the Dance Um­Austin dance scene is moving Lerman with her senior-citizen brella Benefit, Ballet Austin and toward a year-round performance troupe. Friends at the Paramount, and • And on the local scene, Ballet schedule, with spring events spill­the Sharir Dance Company's ing over into June and July, and Austin and the Sbarir Dance Dancers' Fund Benefit. touring companies booking sum­Company continued to thrive. And let's not forget the very mer dates. The groups joined forces for two active and innovative indepen· If one kept performance statis­joint productions last spring, dent choreographers in town, in­ tics like meteorologists record each marking its eighth anniver­cluding the emergence of Toni rainfall, the analogous dance re­sary season. Bravo as one of the most prolific Ballet Austin's continued suc­cord would place 1991 as one of new choreographers, averaging a the busiest cess and growth under Lambros show a month during the winter performance Lambrou brought several pre­and spring of last year. calendars in mieres to local ballet fans, includ-Andrea Ariel presented two ful­recent years. ing the elegant Paquito, ly produced shows, and Diana ifnot the Lambrou's own controversial Car­ Prechter returned to the Austin busiest to men, and Gi!orge Balanchine's performance arena with Glass date. Alistin Tarontella. The company in­ Studies. onstage at the Bass Concert Hall, creased its roster, expanded its averaged 5.4 Out of the mainstream, Sally including principal dancers Dar­administrative staff and school, dance events Jacques and Heloise Gold contlli­ Dance cey Bussell, Viviana Durante, and joined forces with the Austin a month last ue to explore dance as theaterIrek Mukhamedov, and the debut Symphony Orchestra (after a six­year, offering and performance art. of American Bonnie Moore 88 year hiatus) for the return of livelocal audi­Independent choreographers Sondra Lomax Odette/Odile in Swan !Ake. accompaniment for The Nut­ ences more than one performance Kay Braden and Deborah Hay Gregory Hines presented a cracker. per weekend. each received a $20,000 choreo­knock-out, standing-room-only Ballet Austin continued to em· Of these record performances, graphic fellowship from the Na­there was a healthy mix of cul­tive, drawing diverse audiences show at the Paramount Theatre brace all segments of the Austin tional Endowment for the Arts, turally diverse groups, due largely and finding ways to stay alive in as a benefit performance for Aus­dance community, promoting the only two Teuns to receive to the carefully balanced pro· these difficult economic times. tin on Tap. (The company has joint performances with local per­such prestigious awards. gramming offered by the Univer­We saw a wide selection of lo­since left Austin, as director Deb· formers and joining Sharir Dance Jose Luis Bustamante received sity of Texas Performing Arts cal and performing groups last ra Bray mov~to Los Angeles Company in the support of the Dewar's Profiles Performancl' Center, and an increase in inter­year, some especially memorable and ont.o bigger ventures.) emerging and developing Arts Award of $1.000 and per­national touring companies. and some, unfortunately, disap· Ballet legend Rudolf Nureyev choreographers. formed his choreography in New And there were the usual ups pointing. But I'm not one to performed with a small group of The Sharir Dance Company York City for the Dewar's gala. and downs in the local dance dwell on negatives, so to start the European dancers in a glittering averaged two programs a month, community, including the contin­New Year off on a positive note. gala celebrating the 10th anniver· survived its most active out-of­And a very special mention for ued growth of Ballet Austin, the I'd like to briefly recount some of sary of the UT's Performing Arts &tate touring season, and pro-"Dare to Dance," the highly suc­loss of Austin on Tap, the short­the high points of the Austin Center. duced more than five new works. cessful community dance project lived "Dance Talk" forums and dance scene in 1991. Les Ballets Africains, whose The company won collective spearheaded by Rodolfo Mendez l the near-demise of Synergy Let's start with touring drumming and infectious energy and individual honors 88 well: its of Ballet East and directed by Studio. companies. enthralled a sold-out house at the first appearance at the Aspen Eugene Slavin. The project drew Although some local groups Who can soon forget the mag­Bass Concert Hall, left last-min· Festival, Andrea Beck.ham's invi­together children from across the still offered more quantity than nificence of London's Royal Bal· ute ticket buyers stranded in long tation to perform in Japan, Hey­city for several months of week­quality in their productions, at let, as the troupe made its Austin lines outside the box office. wood "Woody" McGriffs end rehearsals, dancing classes least all were active and produc-debut with five performances, The Canadian invasion of Car­ teaching and performing at the and a large dose of self-esteem drawing ballet patrons from bone 14 and 0 Vertigo gave us a American Dance Festival, and and positive reinforcement. across the state. What a wealth double dose of the non-stop, Yacov Sharir's continued work in And the list goes on and on ... of talent the company paraded body-hurtling style of Montreal Photo by Leslie Spett London Royal Ballet principal dancer Darcey Bussell, leaps Into the air In Swan Lake as the troupe leaped Into ballet aficionados' hearts when they brought five performances to Austin in 1991. Signatur!>on card The Sharir Dance Company School.invites first-time students to attend one free dass with this ad Single classes and bulk cates arealso available. Saturdays 1:00 • 2:15 pm $1()4. Instructor: Yacov Sharir Mondays 7:00 • 8:15 pm $104 Instructor: Kathy Dunn Hamrick Saturdays 11:30 am-1:00 pm $104 Instructor: Andrea Ariel Tuesdays 6:00 -7:15 pm $104 Jnstuctor: Kate Warren Thursdays 6:00 • 7:15 pm $104 Instructor: Kate Warren Saturdays 10:00 -11:15 am $104 Instructor: Kate War:ren For more information contact Director Kate Warren at 499-0720 orSharir Dance Company at32(}.8704 Photography: Jonatb.in Leatherwood 'l'he Ausdn Chromde January 17, 1992 lj -SHARIR SPONSORS CUNNINGHAM PREMIERE IN TEXAS AUSTIN, Texas-Sharir Dance Com­pany is cocommissloning a new work, still in the planning stages at presstime, for Maree Cunningham Dance Com­pany. The Cunningham company plans to offer the premiere in Austin at the end of its two-week Texas residency from January 19 to February 1, 1992. This is the second Cunningham residency sponsored by Sharir and the second new work cocommissioned by Sharir and the Cunningham Dance Foundation. Cargo X, the first Cunnin­ gham work cocommissioned by Sharir, received its premiere in Austin in 1989. "OurfirstT exas residency in 1989was very successful," says Art Becofsky, ex­ecutive director of the Cunningham Dance Foundation. "We tried to plan as far in advance as possible for a series of ooc;;ommissions." According to Be­cofsky, producing new works through cocommissions and residencies enables the Cunningham company to share both its creative process and ex­penses. What he calls "affinity relation­ships" between companies provide for the creation of new Cunningham works as well as mutually beneficial activities such as open rehearsals and premieres in the host cities. The Sharir troupe's artistic director, Yacov Sharir, says a major goal of his organization is to provide its dancers, students, and community with an in­depth experience of Cunningham's art. DANCE MAGAZINE January 1992 Explains Sharir: "Since Cunningham technique and process are so challeng­ing for dancers, and the choreography is often a bewilderment to audiences, I knew this educational process couldn't occur with a single Austin residency. The development of a longer relationship with the Cunningham Foundation be­came the focal point of a multiyear artistic plan." Sharir Dance Company agreed in 1988 to sponsor three Cunningham residencies during an initial nine-year period. The company also agreed to co­commission three new works by Cunnin­gham that would premiere in Austin. Sharir will acquire a total of three Cun- Meeting the Cunningham challenge: artistic director Yecov Sharlr. ningham works for its own repertoire and, ultimately , will obtain Cunningham's archives for the Harry Ransom Humanities Research Center at the University of Texas at Austin. No joint appearance of the two modern dance companies is planned for the Cunningham company's residency this January. Sharir Dance Company will act solely as sponsor. Cargo X will enterthe Sharirtroupe's repertoire atthis time, however, becoming the second Cunningham piece that the company dances. Sharir comments, "We are pleased that the work has come full circle, that Sharir and Cunningham will be the only two companies performing the piece.· The Sharir company first per­formed Cunningham's Inlets II in 1988. Sharir Dance Company has received funding from the National Endowment for the Arts, the Mid-America Arts Al­liance, the College of Fine Arts at the University of Texas at Austin, and the UT Performing Arts Center to help spon­sor the Cunningham company in Texas. The Cunningham troupe will perform its new work at the Bass Concert Hall of the University of Texas at Austin on January 31 and February 1. While in .... z '" Texas, the company is also scheduled to perform in Houston, San Antonio, and Dallas. Sondra Lomax -SHARIR SPONSORS CUNNINGHAM PREMIERE IN TEXAS AUSTIN, Texas-Sharir Dance Com­pany is cocommissioning a new work, still in the planning stages at presstime, for Merce Cunningham Dance Com­pany. The Cunningham company plans to offer the premiere in Austin at the end of its two-week Texas residency from January 19 to February 1, 1992. This is the second Cunningham residency sponsored by Sharir and the second new work cocommissioned by Sharir and the Cunningham Dance Foundation. Cargo X, the first Cunnin­gham work cocommissioned by Sharir, received its premiere in Austin in 1989. "Our firstT exas residency in 1989was very successful," says Art Becofsky, ex­ecutive director of the Cunningham Dance Foundation. "We tried to plan as far in advance as possible for a series of cocommissions." According to Be­cofsky, producing new works through cocommissions and residencies enables the Cunningham company to share both its creative process and ex­penses. What he calls aaffinity relation­ships" between companies provide for the creation of new Cunningham works as well as mutually beneficial activities such as open rehearsals and premieres in the host cities. The Sharir troupe's artistic director, Yacov Sharir, says a major goal of his organization is to provide its dancers, students, and community with an in­depth experience of Cunningham's art. DANCE MAGAZINE January 1992 Explains Sharir: "Since Cunningham technique and process are so challeng­ing for dancers, and the choreography is often a bewilderment to audiences, I knew this educational process couldn't occur with a single Austin residency. The development of a longer relationship with the Cunningham Foundation be­came the focal point of a multiyear artistic plan." Sharir Dance Company agreed in 1988 to sponsor three Cunningham residencies during an initial nine-year period. The company also agreed to co­ commission three new works by Cunnin­ gham that would premiere in Austin. Sharir will acquire a total of three Cun- Meeting the Cunningham challenge: artistic director Yacov Sharlr. ningham works for Its own repertoire and, ultimately, will obtain Cunningham's archives for the Harry Ransom Humanities Research Center at the University of Texas at Austin. No joint appearance of the two modern dance companies is planned for the Cunningham company's residency this January. Sharir Dance Company will act solely as sponsor. Cargo X will enter the Sharirtroupe's repertoire at this time, however, becoming the second Cunningham piece that the company dances. Sharir comments, "We are pleased that the work has come full circle, that Sharir and Cunningham will be the only two companies performing the piece." The Sharir company first per­ formed Cunningham's Inlets II in 1988. Sharir Dance Company has received funding from the National Endowment for the Arts, the Mid-America Arts Al· liance, the College of Fine Arts at the University of Texas at Austin, and the UT Performing Arts Center 10 help spon­sor the Cunningham comcany in Texas. The Cunningham troup<> will perform its new work at the Bass Concert Hall of the University of Texas at Austin on January 31 and February 1. While in Texas, the company is also scheduled to perform in Houston, San Antonio, and Dallas. Sondra Lomax DANCE MAGAZINE January 1992 RECOMMENDED BY MICHAEL HUEBNER llodlmdlncelilgwl.....CUl••ighml comee to Austin to,,_.... hit lellMt cnetlon In two ........... "'perfonMnce on Frt as.a, Jen 31 aFeb 1 e1 the Bua eonc.ttWI. Modem dance guru Mcree Cunningham returns to Austin with his company of more than 20dancers, musicians and technicians for two concerts at Bass Concert Hall, Jan 31 & Feb 1, both at 8pm. The 72-year-old choreographer, who continues to dance with the company,~up his two-week residency at UT wilh theses concerts, which will spodighc the world premier of the second part ofhis "Tex:asTriOlogy,• a project he began here in 1989 during a similar residency. Cunningham, who has been called the "&ther of modem dance· (Martha Graham Is a likely candklate for •mother"), counrs among bis collaborators such luminaries as compaserJohn Cage (a pannersbip that has reached legendary aatus) and artists Robert Rauschenberg and Andy Warhol. He is one ofa handful ofchoreographers still curying on the tradition ofchoreogra­pher-composer-artists collaborations fostered by Serge Diaghilev productJom in early 20th-centmyParts. Cage ls still his music advisor, and the C'OIDp06Cf' for Beacb BmJs, a rcccndy completed work that will be performed on Saturday's coocen along with ~ Cunningham's first experiment with computerl7.ed choreography. Works on Friday's program include Neighbors, a collaborative effortwith an electronk score by composer Talrehisa Kosugi and backdrop by artists Marl< Lancaster, and the U.S. premiere of l.ooSIJtrlfe, a piece Inspired by a species of flowering plant. The still-undded "Texaa Trilogy" work will be perfonned both nights All were created wilhin the last year. Expea chance operations, abscraa sound and movement and multfmedla presenta­tions to dominate, or to quote the NtJw Ym* 7lmes, •dynamic and dramatic abstractlon filled with little incldents omtage that continually catch the viewer offguard." Pre-concert events open to the public include a demonsuation ofvideo_dance by Cunningham onjan 28, 8pm, and a leclurc by the Cunningham Dance Foundation's directorArt Beoofslcy on ans admJnisb'2­tion, onjan 29, lpm. can 471-1444 for tickets and more Information. ~;, This sec1lOn IS recyclable Saturday, Januaiy 25. 1992 Austin Amencan·Statesman Fine Arts J Dance master keeps it moving By Sondre Lomax Special 10 the Amerlcan-Slalesman A l 72, choreographer Merce Cunningham is still rede­ fining dance. In lhe 1950s, he nipped coins to determine move­ment sequences and stripped dance of narrative, character development. musi­cal cues and traditional structure. His dances had no easily recogmuible begin­ning, middle or end, There was no cli­max, no resolution, just a stream of pure movement, which required active viewing by the audience to decipher in­herent patterns and forms. Cunningham's former mentor, Mar­tha Graham. had changed the content of dance by altering the movement vo­cabulary and the subject matter. It waa Cunningham who questioned the very form and structure of dance, abandon­ing traditional composition techniques to transform dance into an abstract m Cunningham left the Martha Graham Company in 1945 and started his own company in 1953. Since then, be has re­defined what constitutes a dance perfor­mance and significantly changed the relationship of dance and music through collaborations with longtime friend and colleague, composer John Cage. Now, after almost five decades of movement exploration, Cunningham is still pushing the boundaries of dance. using the latest technological advances as compositional aids. In the 1970s he explored video· and film-dance. ln the 1990s. he has lurned to computer tech­nology, using the three-dimensional ani· mated dancing figures generated by Life Forms, a computer program developed at Simon Fraser l fniversity in Vancou­ver. British Columbia. "The acquisition of Life Forms has allowed Merce to take choreography in a slightly different direction:· said Da­vid \'aughan. the Cunningham Dance Foundation archivist who is currentlv preparing a book on Cunningham's cho­reography. "The computer images allow him to devise an even broader range of movements, to try ideas on scrffn that he can't do himself. "One of the things that Merce has sustained over the years is his astonish­ing inventiveness. the way he always finds new movement. Compositional de­vices such as chance process or comput­er technology are only as good aa the imagination of the the anist using them." Vaughan said. When describing Cunningham's work, Vaughan speaks of the choreographer's extraordinary theatrical and kinetic im­agination and his choreography's organ­ic structure. ''His dances have an extraordinarv sense of structure -not conventional structure like beginning, middle and end -but en organic structure that grows from its own power. There are very few choreographers who can make dances with that kind of force." Vaughan feels that Cunningham·a ad­herence to his own artistic \·isions over the years has allowed his creative gen­ius to develop fully. "He serves as an example for young If you go ••• Merce Cunningham Dance Company When: 8 p.m. Friday and Feb. 1 Where: Bass Concert Hall Tlck•l9: $16.50 lnfotrnatlon: 471-1444 Composer John Cage creates some of the music for Merce Cunningham's dance. P19• 12 choreographers to stick to their guns. not to be deOected from their goals or deterred by outside considerations such aa popular lrenda or by making their dances accessible to the general public. It's only been in the last 10 years or so that Merce has received formal recogni­tion for his work." Cunningham is now recognized as the leader in modernist dance, receiving several honors both at home and abroad. including the recent National Medal of Arts, the Kennedy Center Honors, and the French Chevalier of the Legion of Honor. Vaughan says the choreographer does not rest on his laurels and is still ex­tremely creative, showing no signs of slowing down. He created four new works during the past year, and he is finishing another dance, Change of Address, which his company wm premiere next wm~ndat the Bass Concert Hall. The company's appearance in Austin and the debut of the new work are part of an ongoing relationship between the Sbarir Dance Company, the Cunning­ham Foundation, and the UT College of Fine Arts. Over an initial nine-year period that began in 1988. the organiuitions agTeed to sponsor three company residencies at UT, co-commission three new works for the Cunningham company that will pre­miere in Austin, and acquire three Cun· ningham works for the Sharir repertoire. Change of Addrfss is the second new work co-commissioned by the Sharir Dance Company with the Cunningham Neighbors Is one ol Cunningham's recent works to be performed by his company at At 72, Merce Cunnlngham keeps changing el0 1ADVANC[) FOR ADOJTIONAI INIORMATION CALL 320 8704 . SllARIR DAN([ COMrANY IS FUNDED IN PART llY THf NATIONAL fNDOWM[NT IOR Tfl[ ARTS. 1M(TEXAS COMMIS~ION ON THF ARTS, Tiil MID·AMlRICA ARTS Al LIANCE AND TIH CITY OF AUSTIN LINDER TIH AlJ\rlCE\ C\f Tll£ AUSTlN ARH COMMISSION. • a , • It • J • .,, "'. c • .,.111 c ·-. ...., 14 'AustlnArOOrican-~~an " Sallirdaf'.'Marcii i4,1992 ·,. This section is recyclable -0 .._ Yacov Sharir explores avant-garde dance Yacov Sharir has always dared to dream big. And he usually ac­complishes his goals. As his mod­em dance company celebrates its ninth season tonight at the B. Iden Payne Theatre, Sharir wlli not only be saluting the compa­ny's past achievements but also looking to the future. The Sharir Dance Company is Texas' most successful modem dance company and one which continually explores new dance, new music, new art and the avant-garde. But the beauty of the Sharir Dance Company is that the cho­reography is generally "audience friendly." The performances are accessible to hard-core devotees as well as the general public. Nei­ther Sharir nor resident choreog­rapher Jose Luis Bustamante are influenced by trendiness-for-its­own-salte, and both firmly believe in using technically trained danc­ers to create well-crafted and for­mally-constructed choreography. This adherence to traditional dance training (the company re­rPives both ballet and modem dance classes weekly) and tradi­tional composition methods (such as theme and variation) have served the troupe well. The SOC continues to receive recognition nationally and internationally as a company on the cutting edge. With all the honors and awards the company has garnered in past seasons. 1992 already promises to be a banner year with invitations to perform abroad in three inter· national dance festivals: the Su­zanne Della! International Competition in Tel Aviv, Israel, the Danza Nueva Festival de Lima in Peru and the Recontres Ghoreographiques lntemationales de Bagnolet, a choreographic gathering in France. Dance Sondra Lomax Photo l>y Jonathan Leatherwood Jose Luis Bustamante and Andrea Beckham both choreographed new works for Sharlr Dance Company's ninth anniversary celebration. "I'm very excited by all the in­vitations and the opportunities they present," Sharir said. "[t's a little overwhelming, too. We have had to audition festival works while preparing for our ninth an­niversary gala." Sharir says he is especially ex· cited about the Bagnolet invita· tion he received last week. The French festival is the longest run­ning gathering of modem chore­ographers in Europe and one of the most prestigious and selective. According to Sharir. the Bag­nolet festival will give his compa­ny the best exposure throughout Europe, since lots of impresarios and agents attend the event. He said that unlike the Peruvian and Israeli festivals, the Bagnolet in­vitation offers no financial sup­port to cover SDC's expenses. "I have bought thick knee pads, and after this performance, I will become the most pitiful beggar in the country," he said. "We need all the financial help we can get in order to attend the Bagnolet festival." dance troupe to participate. "The festival presents only the best of new dance from around the world," Sharir said. "They are interested in long, complex works, so we initially submitted six different dances to their adju­dicators. Europeans seem to like the way we work, construct new material and manipulate it. It's a different approach than they're used to. We draw an emotional content from a formalistic struc­ture. It's a very American way to work." But thoughts of Bagnolet and future fund-raising will be put on hold tonight as the company pre­mieres two new works for its an­nual anniversary gala, including Sbarir's latest creation, The Egg. "It's a three-minute egg, to be exact, because I've taken a three­minute movement phrase and then repeated it five times on four different couples," Sharir said. ''Each time it's performed it becomes a whole different story with a different narrative and dy­namic treatment." The Egg features original music by UT graduate student Michael Kapoulas and costumes by Diane Gromala, a member of the design faculty in UT's Art Department. Sharir also will repeat Tell Me The Moon, a cleverly executed work set to the unconventional music of Ellen Fullman and Tina Marsh with a sculpture designed by artist Barbara Timko. "The visual artists and musi­cians who collaborate with Jose and me are very vital to the works," Sharir said. "Our compa­ny is dedicated to promoting new music and new art as well as new choreography." Over the years Sharir has con· tinually promoted new choreogra­phers, and this weekend the company premieres Postures My Mother Assumed, the first chore­ography by longtime principal dancer Andrea Beckham. Busta­mante will contribute Triptych, a dance he premiered in 1989, and a new work with the intriguing title Lung. Bustamante said the underly­ ing concepts of this new dance were rather complex. "It has to do with a living sys­ tems theory," he explained. "I wanted to work with artist John Christensen to create an environ­ment in which specific parts of the space dictate different quali­ties of movement. He designed white rocking platforms upon which the dancers move and struggle to maintain balance. The choreography deals with the dancers maintaining their auton­ omy while also submitting to the demands of the space and the moving platforms." For the pa.st three years, Bus­tamante has experimented with dynamics of balance, shifting weights and performing in unusu­al settings or on unusual surfaces. Sharir also has dealt with re­stricting movements, ritual and, on occasion, minimalism. SDC generally presents provoc­ative performances with collabo­rative designers and composers, strong dancers and innovative choreography. If you plan to at­tend tonight's program, arrive early to assure good seats. Shar· ir's productions tend to play to packed houses. Tickets for the 8 p.m. concert at B. Iden Payne Theatre range from $6-$10. For more informa­tion. phone 320-8704. Saturday, March 14, 1992 This section is recyclable Monday, March 16, 1992 Austin American-Statesman 89 Sharir, Bustamante strike again at Dance Company's gala event By Sondra Lomax Special to the American-Statesman Yacov Sharir presented anoth­er winning program Friday night as the Sharir Dance Company celebrated its ninth anniversary gala at the McCullough Theatre. Artistic director Sharir and resi­dent choreographer Jose Luis Bustamante continue to produce amazingly fresh and innovative choreography, riding a wave of creativity which Gudging by the past 12 months of superior works) shows no signs ofslowing down. Sharir's latest creation, The Egg, highlighted the evening of avant-garde dance. The choreog­rapher has referred to the dance as "a three-minute egg," but it was actually a golden egg, an en­gaging, finely-crafted work that touched an emotional chord un­like any of bis recent offerings. The concept behind The Egg was ingeniously simple; Sharir presented a three-minute move­mentphrasethen repeated~five times on four different couples. The result was a totally different narrative and emotional context in each section, all magically framed by Michael Kapoula.s' Dance review 'The Egg,' highlighted the evening of avant­garde dance. upbeat score, Diane Gromala's trendy costumes and Amarante Lucero's striking lighting. All the dancers were strong performers, but Heywood "Woody" McGriff and Andrea Beckham were dynamite as the fourth couple, whose searing duet ended with McGriff's bands clasped around Beckham's throat. Was this a violent end to a soured love affair? We're left dangling, questions unanswered, as an abrupt blackout punctuat­ed the duet's close. On a lighter note, Bustamant.e, like Sharir, never ceases to amaze with his limitless imagi­nation for putting movement, bodies and props together on­stage. His premiere work Lung (perhaps better titled Aqualung) featured fluid motion and the gentle see-sawing of rocking platforms. The blue and white lighting, grey costumes and swaying props gave the impres­sion of an undersea world where dancers constantly challenged the ebb and flow of currents to maintain equilibrium. One espe­cially tender moment came when Bustamante cradled McGriff in his arms while carefully balanced atop a platform. The entire repertory con­tained powerful imagery from Andrea Beckham's touching solo Postures My Mother A881.Un€d to Bustamant.e's poignant and reli­gious Triptych to Sharir's witty Tell Me the Moon (where Barba­ra Timko's gigantic sculpture lurked menacing behind the dancers with humorous results.) Over the past nine years, the Sharir Dance Company has built a solid reputation as a company on the cutting edge of modem dance. As the troupe prepares for its tenth anniversary season and appearances at three interna­tional dance festivals this spring and summer, who knows what new horizons lay ahead. Let's just remember, we all saw them in Austin first. And we're lucky to have them here. 2 AUsbn American-Statesman Thursday, March 1s, 1992 This section is recyclable-0 SATURDAY A dazzling array of Austin's brightest dance stars takes the stage at the Paramount Theatre Saturday. Ballet Austin, the Shar1r Dance Company, Tapestry, Woody McGrlff, Deborah Hay, Roy Lozano's Ballet Fofklorlco de Texas, and choreography by Kay Braden are featured. The dancers are donating their time and talent to raise funds to benefit AIDS Services of Austin. When: 8 p.m. Saturday. Where: Paramount Theatre. Admission: $10 to $45. Information: 472­ 5411. Sunday, March 15, 1992 Austin Amencan-Statesman G3 Lee Kelly . i f· • Charl..sen-Performing will be the Shariito• has had a Santo• company, Ballet Austin, Ker F. dream for several years. He envi­ Breden, Roy Louno•e Ballet sions bringing together the city's Folklorico de Texaa, Herwood "Wooctr" McGrlfl. Debora tt., · dance companies for a benefit for and Tapestry. Call 477-6060 for AIDS Services of Austin. tickets starting at $10. Charles is a system administra­How has Charles managed it? tor in the Veterans Land Board. He says he owes thanks to in­He's also a dancer with the Sharir valuable help from such people asDance Company. AIDS Services of Austin develop­So he has little free time. ment director Dare Gr•r, Ballet But starting eight months ago, Austin marketing director Gery Charles has made the time on 8 Bell, graphic artist Joan Cunning~volunteer basis to organize the hem, Jeck WhMler of Dallas and Austin Festival of Dance. It'll be Festival chairmen Tena end Joe held March 21 at 8 p.m. at the Chrietle. Joe's president of Chris­Paramount. tie Gas Corp. Friday, March 20. 18 Austin Arnerican-State Ruy l..ozan<)1 Ballet Fol~lorico Je Texae Tape1try A Dance Gala Benefiting AIDS Service of Austin 8:00 p. m., March 21, 1992 Paramount Theatre ~ $. Grnorouoly ~uppo~rt..J 1, four5eaSmi.Holl'I .~, ,, · ~111A.trtc111~11N11n ~"~--107.IJn: $6, $8 and $10. Information: 320-8704. Austin American-Statesman Friday,May1, 1992 /( SHARIR DANCE roMPANY PRESENTS; NEW DANCE FESTIVAL ) WITH LWRY WILSON OF SEAlTLE / fEATIJRINO U.T. DANCE RF.PERTORYTiffiATRE TICKETS:SIO GENERAL $8 SENIORS & S 6 STUDENTS RESERVATIONS & INFORMATION: 320-8704 PHOTOGRAPHY:JONATHAN LEATIIERWOOD SHAAJR D.v«l! COMPANY IS IN llliSIDE)oj(E AT lllE IJNMJlSITY Of T1!XAS COU.lllEOf ANE ARTS Al'o'I) IS AJNDED IN PART IYM NATIOIW.. 9'o'DOWM&ITFOR THE AltTS. TIG!Mll>-AMBUC'.A AlTS ALLJA1'1<.'E. T1!£Ti!XAS \ • •,o) COMMISSION ONTitEAllTS, AND 111ECITYOF AUSTIN UNDER TIE AUSl'ICl:S OFlHl!AUSTIN AlTS COMMISSION . New dance work1 The Sharlr Dance Company presents Its fifth annual New Osnoe Festival tonight and Saturday at Capitol City Playhoose. Works by Heywood "Woody" McGrlff, Yacov Sharlr and guest artist Llory Wilson are on the program. When: 8 tonight throogh Saturday. Where: Capitol City Playhouse. Admlsalon: $6, $8 and $10. Information: 320-8704. The Sharlr Danoe Company presents the final night of Its New Dance Festival. When: 8 tonight. Where: Capitol City Playhouse. Adm1881on: $6, $6 and $10. Information: 320-8704. DANCE Shartr Dance Comptiny Sharls Dance Company's Fifth Annual New Dance Festival, with works by Llory Wiison, Yacov Sharlr and Jos6 Bustamante and a performance by UT's Dance Repertory Theatre, Is 8 p.m. tonight at Capitol City Playhouse, 214 W. Fourth St. Tickets ate $8, $6 for students and senior citizens. Call 320-8704. Registration Complete and mail to Sharir Dance Company P.0.Box 339 Austin, Texas 78767 Pleue print clearly. Pre-registration deadline: May 25, 1'92 Name Address City Zip Day phone Evening phone Course title fee 20% disi;owu for 3 ormore courses _____ TotalS---­0 Enclosed is my check payable to Sharir Dance Co. 0 Please charge my 0.MastelCard 0 Visa Card"--------Exp. dale ----­ Signature on card------------­The Sharir Dance Company School invites tint-time sllldents to -'tend one free class with this ad. SHARIR DANCE COMPANY SCHOOL Summer 1992 Synergy Studio 1501 West 5th St. June l -August 12 Mon./Wed. 6:00-7:00pm hutrw:tor: Kathy Dunn Hamrick $143 Beglnn.ln& Modern II June 3 -August 12 WedneM!ays 7:00 -8:1S pm Instructor: Andrea Ariel S72 lntermedJate Modern June 6 -August IS Saturdays 11:15-l:OOpm hutruaor: Kale Wanen $65 Int. /Advanced Modem June 1 · August 10 Mondays 7:00. 8: 15pm Instructor: Kathy Dunn Hamridt $72 HathaYopD June 6 • August IS Satwdays I :00 -2:00 pm In~tructor: Charles Mac:Inemey $6S Kate's Ideal Workout June 2 -Augl15t 11 Tuesdays 6:00-7:1S pm lnstuctor: Kate Wamn $72 Kate's Ideal Body Conditioning June 4 -August 13 Thundays 6:00 -7:00 pm lnslJuclor: Kale Warren $72 Kat.e's Ideal Workout June 6 -August 15 Saturdays 10:00 -11:15am Instructor: Kale Warren $65 Single classes and bulk. rales available. Note: There will be no clas on Saturday, July 4th. For more information abour Sharie Dance-Company School, call 4S8-81S8. Photography : Jonathan Lea1herwood CALENDAR DANCE created by JOH Lula Buatmnante, Sally Jacques and Janet Behl'9fl• Selbert, wtll be performed May 21·24, 8prn .tTravis Park, 900 EdgK!lffTerrace. COMPANIES Sharlr Dance Company is the only North American company invited to compete in the Rencontres Choregraphiques lnterna­ tionales de Bai::inolet in France, June 9-14. The Texas-based modern dance group will vie for the 200,000 FF prize (approximately $36,000) in the independent professional choreographer category. DANCE MAGAZINE June !992 Celebrating a heritage of creativity, dignity, and pride... I J.. Sharir Dance Company grew from troupe founded for deaf performers The Sharir Dance Company brings an evening of excitement and beauty to the Carver Center on Saturday evening, August 29, at 8:00 o'clock. This date represents a change from the original August 8 performance date. Founded in 1982 by Yacov Sham. the Sharir Dance Company is a repertory troupe of professional dancers performing new dance and post-modern works throughout Texas and the United States. In 1988, the Sharir Dance Company was selected by the National Endowment for the Arts (NEA) as a participant in its four-year Advancement Program for "emerging orgamzations of artistic excellence," one of only 37 organizations chosen nationwide. The troupe has been selected twice to participate in the touring roster of the Mid-America Arts Alliance, which includes five states in addition to Texas. The company ts umque in its origin as a group of deaf dancers which toured the United States from 1978 to 1981. As the American Deaf Dance Company, the group pioneered the mclus1on of deaf people in professional dance activities. The troup began to incorporate hearing dancers and became the Sharir Dance Company in 1982. The many exceptional qualities of the troupe have resulted in record dance audiences for home and touring performances. Because of its unusually broad appeal, the group is often selected by dance presenting organizations for the specific purpose of developing modem dance audiences. Tickets are available from the Carver box office by calling 225­6516. Visa and Mastercard are accepted.