The Red Detachment of Women: Art in the Throes of Change

The Red Detachment of Women

Ballet as a medium is restricting and unified, expressive and without limits. These seemingly opposite parallels in the world of dance are not only what makes the art form so beautifully of its own, but what so closely ties it to China, to the recently celebrated 60th anniversary of the Peoples Republic of China.
In an examination of cultural forms—in this circumstance, dance—there is a divine parallel between the nature of the form and the actual artistic piece presented. A desire for escape exists—of leaving the present time to be immersed with the life of the art. The potential catch-22 is the depth of the medium and the cultural/political undertones of these stories.

The story of The Red Detachment of Women, for example, takes place during China’s ten-year Civil War and is about one woman’s trials and tribulations to become the Commissar of the Red Detachment of Women. The end of the play is marked by a vow: “Forward, forward! Under the banner of Mao Zedong, forward to victory!”

Quite clearly there is cultural resonance in The Red Detachment of Women—whether a critique or celebration of history. The Red Detachment of Women was one of “eight” model works permitted during the Cultural Revolution. These stories, ranging from plays to films to operas to ballet performances, have striking political overtones of the time but remain popular today. The resonance a repertoire dance or operatic piece can have is really quite astounding. Consider works like Swan Lake and Don Quixote that have been performed numerous times but remain as cultural milestones in the genre. Red Detachment, in the midst of the Cultural Revolution of China, has morphed into a momentous work, renowned not only for the art of the ballet itself but for its component of history.

Within the collection of dance pieces the National Ballet of China performs, cultural milieus run rampant. The dancers embody not only a timeframe but history, ancestry—the life worked towards and away from—in their profession that in many cases moved the dancers from their families. The parallels between the regimented training of the dancers in contrast to, say, military training, do not go unnoticed. Coincidentally enough, the original dancers from The Red Detachment actually lived in military camps to learn swordplay to vividly portray the soldiers on stage.

In September of 1964, the National Ballet of China premiered The Red Detachment of Women, which would go on to become the first and most successful full-length Chinese ballet. Two versions of the story were filmed—a film in 1961 on which the ballet was based, and the other in 1972 of the production of the National Ballet of China. This Sunday at 3 pm, the Walker will be screening the 1972 filmed ballet as a part of the People’s Republic of Cinema: 60 Years of China on Film. The 1961 film will be screened Monday, November 9th at 6 pm at the University of Minnesota’s Bell Museum Auditorium.

Make a list of ten adjectives to describe your work.

Sachiko: contrasting. warm. bright. natural.  manic depressive  windy.  personal.  secretive.  lonely.  lost.

Sally: brave, silly, Fellini-esque,  allegorical, musical, over-arching, ridiculous, still, upright, salacious

Megan: vulnerable, comedic, intimate, musical, endearing, personal, undisguised, particular, candid, bittersweet

How do you title your work?

Megan: For this piece, the title arrived before the piece did. I remember driving in my car and the title just popped into my head. Images of a group work had been playing in my head for a couple of years, and I let the title ruminate a while before it stuck to this particular piece. Typically I title a work after it’s done, or at least at some point during the process. So this piece was a little unusual in that respect.

Sally: This title came easily.  It contains words that I never use– Paramount and Footage.  The phrase had an absolute ring to it, for me and it reminded me of a Fred and Ginger movie.

Sachiko: “The Apple Tree,” because the story takes place around the symbol of nature and its forth, warmth, light, generosity, and gentleness, an apple tree.

Vanessa: I usually start out with a title to help focus the work. The title is inspired by the content that I want to express. Rarely have I found a title after the creative process has started.

What is the intent of your piece?

Vanessa: To celebrate, to rally coming together, to acknowledge a new era, to do something all together.

Sachiko: To spotlight un-heard peoples’ voice.  To emphasize the sacrifice and mistakes people make in life, and loss of youth and innocence.

What have you learned about your process while creating this piece?

Sachiko: I discovered sometimes I am like a mathematician to make sense musically.  I understand much of dance in a musical sense, since it is the nature of Flamenco.   I read emotions and story within music.  Music and dance share the same vocabulary in Flamenco.  I see the light when my vision and ideas integrate with the music in my brain.

Has your piece changed since you began making it?  How?

Vanessa: It changes every day with life’s experience and interaction. In the beginning there is what you know and what you think you know. Then through discovery and research it changes and adapts; the collision of thought, movement, and emotion.

What is your editing process?

Megan: I’ve always been a very visual thinker/processor, so that’s worked to my advantage in this project. I’m able to picture a section in my mind and virtually edit it as we have not had a ton of rehearsals together. I think it’s also a result of shooting digital photos over the last several years; it trains your eye to be more efficient at creating an image as well as framing an image.  I can tell that I’m more aware of the holistic picture of the stage and theater, allowing me to take an almost sculptural approach to making the work.

How does the art form you’re working in express your work?

Sally: The form of ballet is key to this work, even if it isn’t apparent.  The line, the opposition, the polarity in ballet, the tension— they are all describing my reality.  The art form of theater itself is enabling me to transcend some of the literalness by way of layering images and repeating motifs.  I think I have a lot to learn, though.  I would like to harness these art forms more and be able to really bring the audience with me more, so that would know  ”Oh, this was important.  OK, this part isn’t real, it’s just how it SEEMED at the time.”

Vanessa: Movement based performance in my opinion speaks to the poetic/subconscious mind and body. It transcends language barriers. This is my chosen form for those reasons and speaks to my desires to work on that level.

How do you respond to your own work?

Megan: Sometimes it’s like seeing an old friend; there is something recognizable and innately familiar to me. Sometimes with a cringe. Hopefully I’m engaged and drawn in to the images. Usually I’m most riveted by the performers themselves. With that said, I often do solo work, so that objectivity is more difficult. If a moment or image makes my heart beat faster or makes me hold my breath then I know I’ve made something successful that I hope provides a visceral, emotional connection for the audience.

Click here to view the embedded video.

Tony from Nami Yamamoto's cast autographing the wall of fame back stage of the McGuire. Photo by Ryutaro Mishima.

For another great season together!

Looking forward to this summer at Rock the Garden, Music + Movies, and Momentum: New Dance Works.

Have a great summer!

Your friends in Performing Arts

Hugh Hughes in Story of a Rabbit

Hoipolloi Theatre Feeling Connected

Raise a glass to celebrate the final event of the UK Performance Now! series and the Walker’s performing arts season. Arrive early for cheap drinks ($3 beer/$5 wine/$2 sodas) and stay late to celebrate with Hugh Hughes from Story of a Rabbit.

Be there: Walker’s McGuire Theater, 4th Floor, 7 pm (before the show)

Stay late: bar service after the show too

Let’s celebrate!

Otto and Olive of BodyCartography in Holiday House

The Walker Art Center is seeking choreographers to be presented in the 37th Annual Choreographers’ Evening.

Auditions will be held at the Walker’s McGuire Theater, 1750 Hennepin Avenue on Thursday, July 9, from 5-10 pm, Friday, July 10, from 1-6 pm, and Saturday, July 11, from 10 am- 3 pm.

You must email info@bodycartography.org to reserve an audition time; auditions are accepted by appointment only.

All forms of dance welcome.

For more information and to schedule an audition, please email info@bodycartography.org or call 612.375.7550

- You will receive a call or email confirming your time slot

- Auditions are in 10 minute intervals

- Your audition piece should be 5-7 minutes

- VHS/DVD submissions are accepted, although live performance is preferred

- No metal taps or nails on shoes for auditions, soft shoes only. Regular shoes can be used for performances.

This Choreographers’ Evening will be curated by The Bodycartography Project. Performances will take place on Saturday, November 28, 2009, 7 & 9:30 pm in the Walker’s McGuire Theater.

Additional questions may be directed to Emily Taylor at 612.375.7624 or emily.taylor@walkerart.org.

Photo by Gene Pittman courtesy Walker Art Center

Second annual Twin Cities National Dance Week photo includes:

Justin Jones (dancer, choreographer), Chris Yon (choreographer), Max Wirsing (dancer, house manager), Tim Cameron (multi-disciplinary artist), Genevieve Bennett (theater director), Tammara Melloy (dancer, choreographer), Cara Ann Krippner (dancer, choreographer), Colleen Harriss (dancer, choreographer), Chris Schlichting (choreographer, performer), Diane Aldis (dancer, administrator), Suzanne Wiltgen (dancer, choreographer), Brinsley Davis (dancer, choreographer), Jamey Garner Leonard (dancer, choreographer), John Munger (dancer, choreographer, administrator), Charles Campbell (performing artist), Megan Mayer (performing artist), Elliott Durko Lynch (performing artist), Theresa Madaus (dancemaker, performer), Ben Johnson (curator), Jill Foster (dancer, choreographer), Erin Drummond (dancer, choreographer), Edna Stevens (choreographer, performing artist), Judith Howard (dancer, choreographer), Christopher Watson (choreographer), Stacy Pottinger (performer, teacher), Sarah LaRose-Holland (dancer, teacher, choreographer), Monica Thomas (dancer, choreographer), Paula Mann (time juggler, choreographer), and Michèle Steinwald (arts manager).

Even though the spoon was missing its cherry, we increased the number of dance folks from last year. Keep spreading the word and coming together!

Click here to view the embedded video.Today marks the beginning of Twin Cities Celebrates National Dance Week. Get ready to enjoy the diversity of all the dance events happening around town. Among the many events, the Walker will host three evocative, international, New York-based choreographers in a shared evening called New World Dance: New York, April 30-May 2 at 8pm. There is also a free dance sampler with the three choreographers (Nami Yamamoto/Japan, Nora Chipaumire/Zimbabwe, and luciana achugar/Uruguay) for families at 12:30pm on Saturday, May 2.

Be a part of our local dance history! Everyone in our dance community is invited to join in this commemorative photo and represent the local dance community next Thursday April 30th at 6pm in front of the Spoonbridge and Cherry at the Minneapolis Sculpture Garden. This photo will be included in future TC dance promotions. See you there!

After the photo is taken come inside for a reception and celebrate together. Free drinks and snacks are provided. Then stay for the opening night performance of New World Dance: New York. 

Take advantage of a $15 ticket special for Thursday night’s show at the box office (612.375.7600, use code: National Dance Week special).

For a listing of some great events happening locally during Dance Week, visit:  www.mnartists.org/DanceWeek

Be included! Submit your dance event to the MNartists.org/DanceWeek website by e-mailing your event info and a press photo to sarahlarose@hotmail.com

Everyone is welcome!

Before I forget, Choreographers’ Evening auditions come early this year: mark your calendar for auditions July 9-11. More info to come.

Photo by Paula Court

Don’t be shy. If you haven’t seen Accidental Nostalgia or Must Don’t Whip ‘Um, the first two parts of Cynthia Hopkin’s Accidental Trilogy, you can catch up in a giffy!

First there was the earthy, Southern-gothic road tale Accidental Nostalgia in 2005, whose narrator steals an identity and revisits her small-town past in an attempt to unravel a childhood murder mystery. Two years later its prequel, Must Don’t Whip ’Um, featured a 1970s American rocker (the one whose identity is later stolen) who renounces her career to join a Sufi brotherhood in Morocco, thus making a leap both geographically and thematically from Western pop culture to Eastern spiritual mysticism . . . even as it turned out to be a daughter’s story about her search for a mother she never knew.

The first two productions were, in Cynthia’s words “tapestries of fiction woven from strands of truth… With this new work, I’m attempting to extract the fiction from the truth and to create two Acts which are polar opposites from each other. I conceive of the trilogy as concentric circles: Part I (nostalgia) being a little circle of neurology and personal memory loss; Part II being the next circle outward from oneself, oneself in relation to father and mother and society; and Part III is the biggest circle, oneself in relation to the universe at large. Part I is the brain, Part II the heart, and Part III the spirit of the Trilogy.”

See Part III this weekend to find out what happens!

Lo Cor de la Plana (Photo by S. Benacer)

Lo Còr de la Plana arrive this weekend for a concert on Saturday at the Walker. Their vocal and percussion styles combine musical influences south of Marseilles including Italy, Morroco, and Algeria with the ancient language of France’s Occitan. The charismatic members break down the structure and messages from their songs in an interview on PRI’s The World.

Listen to KFAI for ticket giveaways.