Photo by Cameron Wittig

Tune into 89.3 The Current at 4pm to hear Walker performing arts curator Philip Bither and The Current’s Mary Lucia announce the lineup for Rock the Garden on June 20 – this festival has become one of summer’s coveted tickets. Speaking of tickets, they go on sale tomorrow too, but Walker and MPR members get first dibs. If you’re looking for an excuse to join, this is as good as it gets. Oh wait, it gets better: Your ticket is free if you contribute at $60 or more; tickets for you and a friend are free if you renew or joining at $150 or more. As you listen to Mary and Philip playing songs from the bands, check out images from Rock the Garden last year – and picture yourself this June, soaking up sun and great sounds in our grassy back yard.

I enjoyed the straight-ahead, no-nonsense ceremony: the live music, the brief performances, the to-the-point remarks from both the award presenters and awardees. Last year, I went to the Bessies in New York at the Joyce Theater. While Justin Bond and Taylor Mac (the emcees) were hilarious and “over-the-top” in the best way, the whole event lasted 2 ½ hours and I left stiff and sore from too much sitting. The Sages clocked in at a smooth hour and half. As I floated around the after-party in the Skyline Room, catching glimpses of the celebrants, I decided to ask my colleagues “what did you think of the Sages this year? And what do you think of the Sages in general?” In fact, I’ve been asking these questions to my colleagues since I was on the panel last year. I would love to take a moment to share my findings.

This dance community is comprised of a variety of artists, critics and philanthropists with a range of opinions. So it comes as no surprise that the Sages, as an event itself, is a hot topic of debate. Some love the opportunity to mingle with the community, to catch up with old friends, no matter the situation. Others like to watch their comrades get tipsy. Some love the Sage Awards because they like to see their colleagues acknowledged publicly, and in the case of Mad King Thomas, use it as a platform to shout out to their mentors. Others will not give it the time of day because it is too small potatoes, not east/west coast enough, not a real red carpet affair. They’d rather rehearse or have family time, even if they are nominated for an award. Some blow it off because they think it’s Stuart Pimsler’s pet project or because they think it’s “insidery.”

I found that some of my colleagues felt a little deflated by this year’s event, saying it was too dry and lacking of the personal charm of past Sage events. It turns out that some felt a little lost in the McGuire Theater and at the after-party. They couldn’t find “their people” and felt alone. Even though I don’t like the Skyline Room, I enjoyed having space during the after-party, unlike the crowded Ritz lobby last year. Space as you know, heightens our kinesthetic senses and makes us feel like moving!!! What could be better? I could scan the room and see the animated conversations. I could float like the social butterfly that I truly am and not commit to any one group. I could secretly check out people’s outfits. (Yes, the Sages is an opportunity to pull out and don your outrageous garb.) Of note was Suzanne Costello’s golden evening dress. Wow. As far as the overall environment is concerned, some wanted the Sages to be more raucous, more cabaret-like, more sweaty and sexy. It turns out that some were highly annoyed by the fact that they had to wait in line all night for a cocktail. Some want free drinks and food (like last year). Others don’t want to have to pay for a community event, especially if they are nominated for an award. They question not only the economics, but whether the Sage’s is really a community event.

The McKnight Foundation provides the money for this event. Stuart Pimsler Dance Theater organizes the affair and decides how to spend the money. They give it to the panelists, the administrators, the entertainment (the performers at the ceremony), and the visual artists who make the actual, physical awards. It covers the costs of publicity, the ceremony and party essentials like space rental, flowers and food. In fact, it seems that everyone involved in the Sage Awards gets paid except the awardees. I’d love to see this change. I say, why not give the winners a little something too? (The Bessie Awards includes a $1000 stipend for “Best Performance”.) An honorarium of $100 would be significant, even in today’s economic climate. Some might argue that money would make the Awards more competitive. I say, they already are–especially when nominees are announced in advance, which is meant to draw the candidates and the curious to the event. Also, let’s go back to the free food and drinks. I know this generates more administrative work, but the money that was given to Wolfgang Puck at the Walker could be allocated to an individual to organize volunteers and donations.

And what about the ticket price of the event? Let’s face it, some of us really have to pick and choose what we do with our money from week to week. We just don’t have the cash flow of 9-5’ers. I know of two nominees who mentioned that they did not want to pay the $12 ticket price for the event. In fact, one nominee, who is financially challenged at the moment, attended at the last minute only because her friend bought her a ticket. Paying $12 for a ticket and then $16 for two drinks means that this event is a $28 expense. What about a pay-as-you-can Sage Award Ceremony? That would alleviate the financial pressure for the financially strained, providing a fluid structure that supports the entire community. With the involvement of volunteers, then we really have a community event, because the shaping of the event is accessible to all. Still, some will get paid for their work and some won’t. But, if you want to be a part of the event, then you can be. If you don’t want to be, then you either pay for your ticket, or stay home.

I just want to say that I support the Sage Awards–and the controversy that surrounds it.
I want these conversations to continue, and I want to encourage people to give voice to their criticisms as well as their salutations, congratulations and compliments. As Suzanne Costello said so eloquently and passionately at the ceremony (and I paraphrase badly here), “let’s hold up a mirror to what we see going on around us.” I want to ride the wave of her invitation and invite you to do the same. I think the Sage Awards has the power to reflect the strength and courage of the consortium of artists in our midst. Go forth, speak, make art and continue make and break the rules; and i will see you next year and the Sages.

Before I articulate my own feelings about the Sage awards and ponder its public perception, I feel it necessary to address Camille LeFevre’s critique of the Sages, its nominees, panel and administrators in her piece “DANCE: 2008 Sage Awards (More Insidery Than Ever)” posted on MN Artists.org two days ago. The panel this year, I surmise, took this task seriously. As on any panel, there are compromises and little heartbreaks. I can imagine that some panelists didn’t really connect with any of the work presented this season, and on the other hand, I’m sure for some, the earth shook. And I’m sure there was at least one dead beat, (the person who couldn’t really participate because they didn’t make it to very many shows). One thing that is certain is that a majority of the people on the panel took the time and energy to discuss and share their feelings. And of course, those feelings are based on a subjective notion of what they consider special, earth-moving, intelligent, experimental, and/or plain old, pretty. Words like post-modern don’t enter their heads, I imagine. They are connecting to the work they see and advocate or critique it from their hearts or brains. They site details to back up their position. They don’t use “ post-modern,” or “ modern” as terms to define the work.

Post-modern dance is not a viable category anymore, and is as cliché and undefined and lazy as the moniker modern dance. By using this term, you incite debate about dance history, undermine the earnest efforts of the artists, and in this case, critique the panelists of the Sage Awards in a vague way. I would even venture to say that dance writing in this town, could use a little more straight up academic, scholarly, empirical thinking and research, especially if you are going to use historically heavy terms like Post-Modern. My other piece of advice is… talk to Sage herself about the implications of Post-Modern. She has been in the thick of it with her own work and her work with Bill T Jones/Arnie Zane Company. Did you happen to see Jerome Bel last season? His critique of performance and dance is foregrounded in his work. What is wrong with wanting to reject what is known about our field, and then see what is left in the imprint? Huh? There is a boatload of magic that can come from this earnest pursuit, just as there is magic in the pursuit of crafted, highly formal, choreographed works like my favorite dance of all time, “Rain” by Anne Teresa De Keersmaeker. (Now you can admonish me for using the word “formal” without elaborate definition.) All of these artists I’ve mentioned are alive and still making a wide variety of dances. I guess all of their work (and the work of the Sage nominees for that matter) would fall under the category of Contemporary dance.

On another note, I think it is a disservice to the nominated artists (and the work of the panel) to lump them together in such a reckless way. Yes, Anna Shogren performed in Justin Jones’ work, and was also nominated for a Sage Award. (This is a small town. The dancer/choreographer overlap has been happening everywhere, for years. Look at the illustrious work of Galen Truer. He works for himself, Mad King Thomas, Mathew J’s Arena, Live Action Set, Wil Swanson and probably more. Is this a form of nepotism? or does the boy just like to move? What about Eric Boone or Kristin Van Loon? Both have been self-proclaimed dance sluts.)

Anna’s performing is extraordinary and her artistry is critical, challenging and understated and dare I say, sometimes sarcastic. Her work, “La Brea”, her third major dance production that I know of, is very different than Justin’s “Pinhead.” Jones’s work was chock full of energetic choreography drawn from his personal foray into brotherhood, childhood and coming of age, as well as his personal experience with dancing. The movement may not have been drawn from a modern (I’m thinking Graham or even Cunningham) or ballet (I’m thinking Balanchine) tradition, but it came from a desire to explore something extremely physical and to express it with his body. Why is that so unworthy? Why does that not provoke thought or feeling? Is it because it does not posses the linear verticality, the extensions, or pointed toes of ballet? And lastly, why, as an artist, would you want to be derivative, to do something that has been done so well before, like Cunningham’s abstract, form- based choreography delivered in the structure of chance operations?

I think it’s best for everyone-dancers, choreographers, panelists and critics alike-if we admit that we have preferences and make unexamined assumptions based on those preferences. I remember Camille’s article “Beauty is Back” in the Star Tribune, that applauded the arrival of TU Dance to the stages of Minneapolis. I too am glad they are here. However, with her article, the writing was on the wall. Some people are uncomfortable being challenged. Some people want to sit back and enjoy the ride. Some people want to see beautiful movement. ( I confess that I don’t know what this means.)

As a viewer and critic of dance myself, I want to ask the right questions. I am not in the self-righteous position to ask, “Is this really dance?” That is granted, even if the work is loaded with theatrical devices or behavioral expressions. The artist decides. (It’s kind of like sexuality. If I say I’m gay, then I’m gay. You’re not going to debate it even if I look like a corporate, purse-swinging, pump wearing, black Chanel suite-wearing executive. Sure, I might be able to pass, but believe me I’m still gay.) I also take for granted that the artist has worked hard on their show. If I really want to get something out of the experience, then I ask myself “what is being explored? what can I learn about this dance? what can I learn about the body? how do I feel? and what is their point of view? and what kinds of expressions are they using to get their point across?” Of course, my own personal subjective preference will shape this experience. I will try harder for some artists than for others to sort this out, depending purely on my mood. (The thing I hate most is when I expect a certain kind of work from an artist before I even see their work. If you’re an artist, know that when I come to your show, I work hard to leave this at the door.)

As far as the Sages are concerned, we, the greater community, won’t agree, thankfully. It is evident that some will want “Wreck” to receive a nomination, and maybe others will want “Pamela,” by Emily Johnson, Jessica Cressey and Hannah Kramer to receive an award. What is important, I think, is to acknowledge that all of the people on the panel have had their own ideal candidates and ultimately had to compromise to find a common ground. This process has it’s own flaws, and I believe is continually being shaped and fine-tuned by the panelists themselves. The Sages, like other things in life, are in process. What’s fun about this is that we, the spectators still get to participate–be part of the conversation. We get to make our own lists and see if we align or run astray of the panel’s findings. We can have our own private debates about what we have found to be extraordinary in the field this past year. We can come together and drink and celebrate each other. I think the panelists and administrators have to do the hard work and perhaps bear the brunt of a disgruntled artist/critic or two.

The Sage Awards is not a Minnesota-nice kind of affair. Everyone cannot win. In fact, yes, sometimes, people are nominated twice, (Laura Selle and Olive and Otto of Body Cartography fame). In fact, Anna Shogren was nominated for best Dancer/performer last year. I still say she was robbed. But is it possible, that these artists rose to the top on their own? Why is that out of the question? Why is it a case of nepotism? Laura Selle is one of the best dancers in town. She works with at least 5 companies that I can think of. The girl definitely loves to move and does it well.

I think it is fine to be biased. I think it’s necessary to own it, is all. That’s what makes this town what it is. And that is what propels artists into making work. Let’s be glad that we get to cultivate our own imaginations. Let’s be glad that we have one. It’s funny, when people ask me about Minneapolis as a dance community, I usually say it’s a pretty traditional, straight ahead kind of community, with an underbelly to die for.

I have much more to say about the Sages awards. But I am going to post this now, and leave further ruminations for part II, after this special and deliciously controversial event. Now, it’s time to get dressed. I hope to see you there, in your Chanel suit.

When I met Walter Kitundu, shortly after I started working at the Walker in 1998, he was making music. And musical instruments. And intricate dollar-bill drawings. And god knows what else. Now, as of Monday, he’s a MacArthur Fellow, honored with a $500,000 grant to continue his inventions — and all of us at the Walker wish him warm congratulations.

A quick scan of Kintundu’s website offers ample evidence of the 35-year-old San Francisco resident’s catholic creative impulses: from sometimes sharply political dollar drawings to remarkable nature photography (a raccoon testing the buoyancy of a river log, for instance, shot during his ongoing residency at Headlands Center for the Arts) to musical compositions to visual art. But what he is perhaps best known for is inventing and building instruments, most notably the phonoharp, a hybrid of turntable and stringed instrument. Described by the San Francisco Chronicle as looking “like something John Sebastian might sample on a reunion tour of the Lovin’ Spoonful,” the instrument “creates a sound that combines the gentleness of the plucked strings with an LP spun on the turntable.” That sound captured the attention of the members of Kronos Quartet, who each wanted one. They hired him on as Kronos Instrument Builder in residence, and he ended up writing a composition for phonoharp specifically for the group; it was performed at last year’s San Francisco Jazz Festival, with Kitundu accompanying on clarinet (he’s reportedly building four “trumpet violins” for the quartet as well).

A native of Rochester, Minn., Kitundu has a long history with the Walker. Performing Arts Residency Coordinator at the turn of the millennium, he also co-wrote a commissioned piece, entitled simply 8, for the opening of the Walker’s 1999 exhibition of Robert Gober’s art. And last year, he opened up a concert by So Percussion and Matmos in the McGuire Theater. Living in San Francisco for the past decade, Kitundu is employed as a MultiMedia artist at the Exploratorium and is currently the Wornick Distinguished Visiting Professor of Wood Arts at the California College of the Arts, in addition to his work for Kronos.

“We’re thrilled for Walter. We had the pleasure of working with him at WAC in his formative days,” says Doug Benidt, associate curator of performing arts. “His omnivorous curiosity, unfailing grace, and ease of medium manipulation was evident early on. It’s a remarkable statement of achievement and a proper cosmic turn for the better. His career is shaping into an exceptional compound… instrument builder, bird photographer, composer, designer, musician, woodsmith, (what’s next?)… Walter is a true artist who now has the luxury of dollar-drenched research limited only by his preferences.”

I love when Meg says “What about bodies in crisis? Bodies that are not in control? What about complex physical and emotional states? Is it possible to give these irrational bodies a platform to address contemporary issues while embracing a theatrical context?” It was clear that she was investigating these questions in her brown shag-carpet fantasy world of Forgeries, Love, and Other Matters (possibly my favorite show from the 05-06 season)

If you’re having a hard time remembering Forgeries, check out the Performing Arts department’s submission to the annual pumpkin carving contest.

Excerpt from Catherine Sullivan on Art21

To launch 2008’s National Dance Week, an email to many in Minnesota’s dance community went out to invite all members to participate in a group photo shoot. The turn out was great! We luckily had a beautiful sunshine-filled afternoon as 24 people made it out to the Minneapolis Sculpture Garden.

First annual Twin Cities National Dance Week photo includes:

Patrick Scully (artist), Judith Brin Ingber (dancer), Alanna Morris (dancer), Sarah LaRose-Holland (dancer), Bryan Gerber (dancer, teacher, choreographer), Chris Holman (dance enthusiast), Laurie Van Wieren (dance maker), Sher Demeter (dancer, acupuncturist), Paula Mann (choreographer), Matthew S. Smith (composer), Karen Sherman (dance artist), Sarah Petersen (artist), Chris Schlichting (dance artist), Morgan Thorson (choreographer), April Sellers (choreographer), John Munger (choreographer, teacher, researcher), Lisa Conlin (choreographer, dancer), Cathy Wright (choreographer), Christopher Watson (choreographer), Dylan Skybrook (choreographer), Jennifer Johanneson (dance enthusiast), Rebecca Frost (artist), Michèle Steinwald (arts manager), Philip Bither (curator), and behind the camera, Cameron Wittig (photographer). Also present in paper form on the grass: Megan Mayer (dance artist), and Anna Marie Shogren (dance maker).

Next year, we hope to double the turn out and for even more the following years until EVERYONE is represented! Stay in touch with next year’s schedule and photo shoot date online at mnartists.org/danceweek.

As the 2008 NDW wraps up and after participating in a full week plus of activities, I find myself still running around the cities and seeing local dance performances almost every night. It is proof that we have a vibrant, lively, and rich dance community in Minnesota!

See you at the shows!

“The Sound and the Fury (April Seventh, 1928)” at New York Theater Workshop features, in foreground, Susie Sokol and Vin Knight. Photo by: Sara Krulwich/The New York Times

I was so pleased to wake up this morning and read Chief New York Times Theater Critic Ben Brantley’s rave review of our friends Elevator Repair Service’s production of William Faulkner’s The Sound and the Fury (April 7, 1928). The Walker has long been in ERS’s corner, ever since I first saw their deliciously ridiculous Cab Legs at PS122 in 1998. On their first Minneapolis visit, we presented their odd-ball, ecstatic Total Fictional Lie as part of Walker’s 2000 Out There series. They returned with Room Tone (2003 Out There) and, most recently, we co-commissioned their audacious, every-word-of-the-novel marathon production of The Great Gatsby (GATZ) ,which received its U.S. debut here in September 2006.

Rights issues with the Fitzgerald estate have tragically not allowed the brilliant GATZ to yet be seen in New York City, but a year after the Walker introduced the work to the U.S., it did successfully tour to cities like Portland OR (at PICA’s TBA Festival), Philadelphia (at the Philly Live Art Fest.) and Seattle (On The Boards). So, it’s a bit irritating that both Brantley and Justin Bergman (who wrote an ERS preview last Sunday in the Times) seem oblivious to the fact that GATZ ever came to the U.S. at all (“ the famously venturesome Elevator Repair Service” wrote Brantley “ …toured Europe with a seven-hour rendering of F. Scott Fitzgerald’s “ Great Gatsby” …).

While Brantley and Bergman maintained the Times’ long-standing New York parochialism (assuming nothing of cultural interest takes place West of the Hudson), Brantley did do a nice job of articulating the steep challenge that director John Collins and ERS set up for themselves in taking on the notoriously dense and, at first read, confusing, first section of The Sound and Fury, which is told from the point of view Benjy Compson, a 33-year old mentally disabled man. “ Trying to translate this perspective from the page to the stage would seem to be an act of folly and hubris,” wrote Brantley… “ Benjy’s nonlinear, noninterpretive point of view has been the bane of uninitiated English students for decades. But reading this account of a Mississippi family’s decline is like looking at an impressionistic painting that at first seems to lack discernible forms, but stare long enough, and details emerge so precisely that it’s finally sharper than any photograph….”. In the end, the company’s rigor and ingenuity wins over Brantley completely – “ (ERS) brings a sanity, humility and theatrical ingenuity to their interpretation that, like the novel, illuminates the clarity within apparent chaos.”

Congratulations again to director John Collins all our friends at ERS. I can’t wait to catch up with the production (and all of our ERS pals) on my next trip to New York in mid-May.

Click here for the NY Times article on ERS Faulkner’s Haunted Family, Moving in and Out of Time April 30, 2008.

It’s little old me, Jeff Hnilicka. You may remember me from such favorites as “Press 4 to be connected to the box office”, “You are caller number 5″, or my personal favorite, “Tickets to the British Television Advertising Awards are SOLD OUT”. That’s right, I’ve dutifully served as the Voice of the Walker on the phone recording and worked in Visitor Services for the past five years, but have since re-located to New York. Miss my cheery disposition and boyish charm at the front desk since my departure (see below)? No worries. With my virtual voice, I’ll be blogging with updates on new projects from performing artists featured at the Walker and other exciting work I see in New York.

A bit of the biographical info: Born ‘n’ raised in Milwaukee, before coming to the U of M where I earned my BA in Theater Arts. I worked in Visitor Services at Walker for 5 wonderful years, with a brief stint at MASS MoCA. Helped start the radical political action/art collective/party planner organization The Revolting Queers. I have also worked with Minnesota Public Radio, Soo Visual Arts Center, and mnartists.org I currently work as Company Manager for J Mandle Performance and reside in the Bushwick neighborhood of Brooklyn.

Miss you much.

jeffy

This Wednesday, April 23rd Trisha Brown an icon of contemporary dance will be on Midmorning with Kerri Miller.

Tune in to 91.1 at 9 AM or Click here to listen.

This Friday’s Dance Performance by Trisha Brown’s Dance Company will include music/score by John Cage and Laurie Anderson.

click here for tickets