In “Dancing Replies”, the Dance On Ensemble invites contemporary artists –  Ginevra Panzetti and Enrico Ticconi – to respond in their own artistic language to iconic works of postmodern dance by Lucinda Childs. In these performance works, the artists reflect on classical but radical works that challenged the rules of their time.

Starting with three early pivotal works by Lucinda Childs from the 1970’s the choreography duo Panzetti / Ticconi led by the minimalist movement language of Childs, present their response “MARMO” to these extreme examples of formalism.

In presenting these works a connection is opened between dance heritage and contemporary dance creation as well as between artists of different generations and backgrounds

Choreography: Mathilde Monnier

With: Ty Boomershine, Emma Lewis, Jone San Martin, Gesine Moog, Marco Volta

Light Design: Martin Beeretz
Sound Design: Mattef Kuhlmey
Artistic Collaboration: Stéphane Bouquet
Costume: Mathilde Monnier
Costume Assistance: Nora Stocker
Technical Direction: Martin Beeretz

“When I received this invitation to come talk about Merce Cunningham’s work, I felt it was time for me to come and do it.” (David Antin)

This is almost the way a poem by David Antin starts. This poem, improvised by Antin during a festival in honour of John Cage in May of 1989, is also how Never Ending Story starts… and, for that matter, started. Ty Boomershine and the Dance On Ensemble invited me to reply, in my own way, to Story, a work that Merce Cunningham premiered in 1963.

“So I felt it was time for me to come and do it.”

Someone comes onto the stage and tells you some stories. Stories about structure and rhythm. Stories about feelings and repetitions. The story of the feeling of the dance that’s about to appear.  The story of the gestures taking place whilst this stream of words produces it. By telling stories, dancers prepare themselves to listen to their own voices and to feel their own bodies move.  While talking, they experience the thought as it happens to a mind and, above all, to a body.   By “it happens”, one must mean everything but an abstract process: Thought is far from being a disembodied concept, indeed, thought is literally body-produced and it acts upon the body in return.

To talk and to dance, talking as you dance, dancing as you talk. To dance as an effort to get closer to what thought is, but also to the singular tone of your own voice formulating a thought.

Production: Dance On/DIEHL+RITTER
In cooperation with: Kammerspiele München
With the support of: Montpellier Danse à l’Agora, cité internationale de la danse/ Avec le soutien de Montpellier Danse à l’Agora, cité internationale de la danse

Choreography and Costume: Martha Graham

Restaging: Miki Orihara

With: Miki Orihara

Neon Installation: Tim Etchells

Music: Henry Cowell
Light design reconstruction: David Finley
Light: Martin Beeretz
Sound: Mattef Kuhlmey

“Deep Song” premiered at the Guild Theater in New York in 1937. Set to music by Henry Cowell, the dance was composed in response to the Spanish Civil War. Deep Song was a cry of anguish, an embodiment of Martha Graham’s fears for a world torn apart by man’s inhumanity to man. “The fierce, fighting anguish of Deep Song is as direct and as objective as a shout,” wrote one critic.
According to program notes, “the forms of the dance – its swirls, crawls on the floor, contractions and falls – are kinetic experiences of the human experiences in war. . . It is the anatomy of anguish from tragic events.” The tragedy of Spain is universalized through the choreography. “It is not Spain that we see in her clean impassioned movement; it is the realization that Spain’s tragedy is ours, is the whole world’s tragedy.” The dance disappeared from the repertory in the 1940s, and it was not until 1989 that it was reconstructed by Graham with Terese Capucilli.

Long-time Graham dancer and Dance On Ensemble member Miki Orihara will dance a restaging of “Deep Song” as part of the program “Making Dances”. 

“Everything/Nothing” is neon text installation created by artist and performance maker Tim Etchells, in response to Martha Graham’s seminal work Deep Song. Designed to be hung above the stage as the choreography is danced by Miki Orihara , the full text of Etchells’ work is a quotation from Federico García Lorca’s 1931 poem ‘Ay!’ reading simply: Everything in the world is broken. Nothing but silence remains.  

Arranged as a constellation of neon words in dispersed arrangement above the stage Etchells’ work enters a porous dialogue with Graham’s choreography, the words illuminated one at a time to make a brief time-based intervention in the work, in which Lorca’s text haunts the air above and around the piece. In the gesture of bringing this particular text into dialogue with Deep Song, Etchells closes a circle of connection between the legacy of flamenco’s deep song, Graham’s powerful choreographic response to the Spanish Civil War, and Lorca himself who lost his life during the conflict. Placing fragmentary language, as individual words, in dialogue with Graham’s ambiguous choreography of a suffering female figure, Etchells’ neon directly addresses the concerns and context of the dance as well as acknowledging the limits of language when it comes to speaking of traumatic experience.

This work can also be presented singularly in the appropriate conditions.

This production of Deep Song is presented by arrangement through Martha Graham Resources, a division of the Martha Graham Center of Contemporary Dance, Inc