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Things to do this week in NYC Sep 17-Sep 24: Cultural Arts

September 17, 2011 - by CG Directory Editor

Dance, art galleries, museums, lectures -- you name it, there are plenty of things to do in NYC. From the New York City Ballet, to Alvin Ailey, from performances at the Metropolitan Opera, to live music at Madison Square Garden, New York has it all. Here is a selection of what's going on in New York this week.

Making Moves - Jamaica Performing Arts Center
September 17, 2011 - Jamaica

The second annual Making Moves Dance Festival will introduce audiences to a diverse group of performers as we celebrate the ever evolving art form of dance. Join us for what promises to be a Dynamic, Captivating and Entertaining event. MAIN STAGE 7 – 9 pm - FREE Outdoor Performance 4 – 5 pm - *Rain – JPAC Theatre - Vissi Dance Theatre presents “Queen” an original work commissioned by JPAC, a tribute to the music of the legendary Aretha Franklin. The versatile dancers of the Vissi Dance Theater, under the direction and choreography of Courtney Ffrench, will perform to original studio recordings as well as live recorded performances of Ms. Franklin. Music will be mastered and arranged by music arranger/producer/DJ Nyck Henry.

Swan Lake - New York City Ballet
September 17, 2011 -

Swan Lake, the last of the great 19th-century Russian ballets, is a work of emotional intensity, inventive choreography and glorious music, a lyrical and moving musical/psychological dance drama. Although Swan Lake was also the last of the famed Tschaikovsky-Petipa-Ivanov ballets, it was actually the composer's first ballet score.

Swan Lake - New York City Ballet
September 18, 2011 -

Swan Lake, the last of the great 19th-century Russian ballets, is a work of emotional intensity, inventive choreography and glorious music, a lyrical and moving musical/psychological dance drama. Although Swan Lake was also the last of the famed Tschaikovsky-Petipa-Ivanov ballets, it was actually the composer's first ballet score.

Apollo - New York City Ballet
September 20, 2011 -

Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one possibility that is inevitable." The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also children of Zeus and thus his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is a mask that represents the power of gesture; and Terpsichore, Muse of dance and song, whose symbol is a lyre. Stravinsky, who possessed a strong interest in Greek mythology, conceived of and composed the score as a ballet. It was with this work, his second ballet set to the music of Stravinsky, that Balanchine, at age 24, achieved international recognition and began his lifelong partnership with the composer. Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century. His work encompassed styles as diverse as Romanticism, Neoclassicism and Serialism. His ballets for Diaghilev's Ballets Russes included The Firebird, Petrushka, The Rite of Spring, and Apollo. His music has been used in over thirty ballets originating with New York City Ballet from 1948 through 1987, including Danses Concertantes, Orpheus, The Cage, Agon, Monumentum pro Gesualdo, Rubies, Symphony in Three Movements, Stravinsky Violin Concerto, Concerto for Two Solo Pianos, Suite from L'Histoire du Soldat, Concertino, and Jeu de Cartes.

Episodes - New York City Ballet
September 20, 2011 -

Episodes grew out of Balanchine's enthusiasm for Webern's music, to which he had been introduced by Stravinsky. Balanchine wrote that Webern's orchestral music... fills the air like molecules; it is written for atmosphere. The first time I heard it... the music seemed to me like Mozart and Stravinsky, music that can be danced to because it leaves the mind free to "see" the dancing. In listening to composers like Beethoven and Brahms, every listener has his own ideas, paints his own picture of what the music represents.... How can I, a choreographer, try to squeeze a dancing body into a picture that already exists in someone's mind? It simply won't work. But it will with Webern. Balanchine and Lincoln Kirstein invited Martha Graham to choreograph a joint work with Balanchine using all of Webern's orchestral pieces. The result was no true collaboration but a work comprised of two separate sections. Graham's contribution, Episodes I, was danced by her company plus four dancers from New York City Ballet. Episodes II, created by Balanchine, was danced by New York City Ballet and Paul Taylor, who was then a dancer in Graham's company. After 1960, Graham's section and the solo variation were no longer performed at New York City Ballet. Anton von Webern (1883-1945), an Austrian, was part of the neoclassical movement in music. He was a musical scholar who adopted and extended Schoenberg's 12-tone method of composing music, which meant basing a composition on a "series" made up from the 12 notes of the chromatic scale arranged so that no note was repeated within the series. Webern became more and more rigorous in his attempt to compress or simplify his own style.

The Four Temperaments - New York City Ballet
September 20, 2011 -

Balanchine choreographed The Four Temperaments for the opening program of Ballet Society, the forerunner of New York City Ballet. It is one of his earliest experimental works, fusing classical steps with a lean and angular style. The ballet is inspired by the medieval belief that human beings are made up of four different humors that determine a person's temperament. Each temperament was associated with one of the four classical elements (earth, air, water, and fire), which in turn were the basis of the four humors (black bile, blood, phlegm, and bile) that composed the body. In a healthy body, the humors were in balance. But if one became predominant it determined an individual's temperament. Thus a person dominated by black bile was melancholic (gloomily pensive), by blood was sanguinic (headstrong and passionate), by phlegm was phlegmatic (unemotional and passive), and by bile was choleric (bad-tempered and angry). The titles of the ballet's four movements — "Melancholic," "Sanguinic," "Phlegmatic," and "Choleric" — reflect these principles. Hindemith's music was commissioned by Balanchine, an accomplished pianist who wanted a short work he could play at home with friends during his evening musicales. It was completed in 1940 and had its first public performance at a 1944 concert with Lukas Foss as the pianist. Paul Hindemith (1895-1963), a key representative of the neo-classical school, is considered one of the greatest German composers of this century. He fled the Nazis (who banned his music) and was a professor of music at Yale from 1940-1953. A conductor, violinist, violist, pianist and theorist, he wrote several books on musical theory.

2 and 3 Part Inventions - New York City Ballet
September 21, 2011 -

J.S. Bach wrote these piano studies, Inventions and Sinfonias, between 1720 and 1723 to help instruct his son in the playing and handling of two- and three-part pieces. They are mostly short studies and have been given neither tempi nor dynamic marks. There are as many interpretations as there are pianists, as one can conclude by those recorded. Glenn Gould has even rearranged the order, mixing the two and three parts alternately. Jerome Robbins selected about a dozen of all the pieces for this work. Johann Sebastian Bach (1685-1750) was born into a family of musicians successful for over two centuries. Although later in his career he became most noted for his choral and other church-related compositions, he also left a large body of instrumental music for solo instruments and ensembles. While his popular reputation was eclipsed by the fame of his sons, he was revered by musicians and composers. Finally in the 19th century Mendelssohn brought his music to public attention and he became recognized as one of the greatest of all composers.

Apollo - New York City Ballet
September 21, 2011 -

Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one possibility that is inevitable." The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also children of Zeus and thus his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is a mask that represents the power of gesture; and Terpsichore, Muse of dance and song, whose symbol is a lyre. Stravinsky, who possessed a strong interest in Greek mythology, conceived of and composed the score as a ballet. It was with this work, his second ballet set to the music of Stravinsky, that Balanchine, at age 24, achieved international recognition and began his lifelong partnership with the composer. Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century. His work encompassed styles as diverse as Romanticism, Neoclassicism and Serialism. His ballets for Diaghilev's Ballets Russes included The Firebird, Petrushka, The Rite of Spring, and Apollo. His music has been used in over thirty ballets originating with New York City Ballet from 1948 through 1987, including Danses Concertantes, Orpheus, The Cage, Agon, Monumentum pro Gesualdo, Rubies, Symphony in Three Movements, Stravinsky Violin Concerto, Concerto for Two Solo Pianos, Suite from L'Histoire du Soldat, Concertino, and Jeu de Cartes.

Mercurial Manoeuvres - New York City Ballet
September 21, 2011 -

This witty and cheerful piece for 21 dancers opens with an explosive male variation — a series of bravura leaps performed to a trumpet solo — that is followed by rapidly shifting ensemble work for a corps of women which materializes from behind gauze panels on each side of the stage. After a quietly mesmerizing pas de deux of unfolding turns, arrested leaps and intricate lifts, the ballet ends with squadrons of dancers flying on and off the stage in ever-changing directions, patterns, and diagonals. An early reviewer compared the work's intricate geometry to the paintings of Kandinsky and Malevich. The score by Russian composer Dimitri Shostakovich (1906-1975) fell in and out of favor with the Soviet government as the composer's creative development and fortunes were often determined by political events in the Soviet Union. Shostakovich studied at the Leningrad Conservatory, where his work was encouraged by Alexander Glazounov, the Conservatory's Principal. Shostakovich's 1926 graduation piece, The First Symphony, catapulted him to prominence. During the next decade he composed a satirical opera, The Nose (based on a story by Nicolai Gogol), three full-length ballets, and the first of many film scores. Shostakovich, whose work was influenced by Gustav Mahler and Cesar Franck, wrote 15 symphonies (several of them with epic themes relating to the Russian Revolution and World War II), concertos, quartets, operas, and patriotic cantatas. Christopher Wheeldon, a former soloist with New York City Ballet, retired from dancing in May 2000. He was born in Somerset, England, and joined The Royal Ballet in 1991, the same year he won the Gold Medal at the Prix de Lausanne Competition. In 1993, he was invited to become a member of the NYCB corps de ballet. In addition to dancing, he has choreographed works for New York City Ballet's Slavonic Dances (Dvorak) (1997) and Scènes de Ballet (Stravinsky) (1999), Boston Ballet, Colorado Ballet, Ballet Inc., The Royal Ballet, the Royal Ballet School, and the School of American Ballet. His work can also be seen in the feature film Center Stage (released May 2000). In 2000, Mr. Wheeldon was selected as New York City Ballet's first Artist in Residence.

Ocean's Kingdom - New York City Ballet
September 22, 2011 -

NYCB brings together the legendary Sir Paul McCartney and Ballet Master in Chief Peter Martins for a hallmark collaboration. Ocean's Kingdom marks the first time that McCartney has composed for dance, and Martins' choreography will follow the music's libretto of a romance between lovers from conflicting kingdoms. With costumes designed by another McCartney, renowned fashion designer Stella and projections by S. Katy Tucker with lighting designs by Mark Stanley.

Apollo - New York City Ballet
September 23, 2011 -

Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one possibility that is inevitable." The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also children of Zeus and thus his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is a mask that represents the power of gesture; and Terpsichore, Muse of dance and song, whose symbol is a lyre. Stravinsky, who possessed a strong interest in Greek mythology, conceived of and composed the score as a ballet. It was with this work, his second ballet set to the music of Stravinsky, that Balanchine, at age 24, achieved international recognition and began his lifelong partnership with the composer. Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century. His work encompassed styles as diverse as Romanticism, Neoclassicism and Serialism. His ballets for Diaghilev's Ballets Russes included The Firebird, Petrushka, The Rite of Spring, and Apollo. His music has been used in over thirty ballets originating with New York City Ballet from 1948 through 1987, including Danses Concertantes, Orpheus, The Cage, Agon, Monumentum pro Gesualdo, Rubies, Symphony in Three Movements, Stravinsky Violin Concerto, Concerto for Two Solo Pianos, Suite from L'Histoire du Soldat, Concertino, and Jeu de Cartes.

The Four Temperaments - New York City Ballet
September 23, 2011 -

Balanchine choreographed The Four Temperaments for the opening program of Ballet Society, the forerunner of New York City Ballet. It is one of his earliest experimental works, fusing classical steps with a lean and angular style. The ballet is inspired by the medieval belief that human beings are made up of four different humors that determine a person's temperament. Each temperament was associated with one of the four classical elements (earth, air, water, and fire), which in turn were the basis of the four humors (black bile, blood, phlegm, and bile) that composed the body. In a healthy body, the humors were in balance. But if one became predominant it determined an individual's temperament. Thus a person dominated by black bile was melancholic (gloomily pensive), by blood was sanguinic (headstrong and passionate), by phlegm was phlegmatic (unemotional and passive), and by bile was choleric (bad-tempered and angry). The titles of the ballet's four movements — "Melancholic," "Sanguinic," "Phlegmatic," and "Choleric" — reflect these principles. Hindemith's music was commissioned by Balanchine, an accomplished pianist who wanted a short work he could play at home with friends during his evening musicales. It was completed in 1940 and had its first public performance at a 1944 concert with Lukas Foss as the pianist. Paul Hindemith (1895-1963), a key representative of the neo-classical school, is considered one of the greatest German composers of this century. He fled the Nazis (who banned his music) and was a professor of music at Yale from 1940-1953. A conductor, violinist, violist, pianist and theorist, he wrote several books on musical theory.

Union Jack - New York City Ballet
September 23, 2011 -

Union Jack was created to honor the British heritage of the United States on the occasion of its Bicentennial. Part I is based on Scottish military tattoos and folk-dance forms performed in an open castle square. Part II is a music-hall pas de deux for the costermonger Pearly King and Queen of London, with two little girls and a donkey, danced before a drop suggesting Pollock's toy theaters. Part III is a series of variations employing hornpipes, sea songs, work chants, jigs, and drill orders of the Royal Navy, in a dockside setting. For the finale, hand flags signal 'God Save the Queen' in semaphore code as the Union Jack unfurls. Hershy Kay (1919-1981) established himself as a preeminent orchestrator of musicals with Leonard Bernstein's On The Town in 1944. His works for the ballet include Cakewalk, Clowns, Western Symphony, Stars and Stripes, Who Cares?, and Union Jack; his works for the musical theater include Peter Pan, Once Upon a Mattress, Candide, A Chorus Line, Evita and Barnum. A composer in his own right, Hershy Kay also reconstructed Louis Moreau Gottschalk's Grande Tarantelle for Piano and Orchestra, which later became the Balanchine ballet Tarantella. Mr. Kay's work also includes a children's record, Mother Goose.

Deaf Creative Arts Festival - Lexington School for the Deaf
September 23, 2011 - Jackson Heights

Celebrate deaf artists of all genres at Lexington’s Deaf Creative Arts Festival, held alongside Deaf Awareness Week, a week-long celebration of Deaf culture. We will be featuring works by Lexington’s own student body and staff, paintings by Stephen Mulhauser and Nancy Rourke, prints by Kurt Stoskopf, and short films by Storm Smith. Professional artists’ work will be displayed alongside our of Lexington student work to showcase the accomplishments of all artists in the Deaf community. Refreshments will be provided by the Lex Voc Café, Lexington’s own in-house café staffed entirely by Deaf individuals.

Brandi Carlile - The Town Hall
September 23, 2011 -

From her rootsy bell-clear voice to the palpable emotion that seeps through every song pop singer, songwriter Brandi Carlile is the real deal crossing genres of alternative country, folk, pop and blues.

What Matters Now? Exhibition - Aperture Foundation
Through September 24, 2011 - New York

The exhibition in progress What Matters Now? Proposals for a New Front Page will combine the crowd sourcing of images and ideas with the curatorial engagement of six visual image specialists. Over two weeks, blank walls will be filled with proposals for the contents of a 'New Front Page' in a post-9/11, globalized world.

New York Television Festival - Tribeca Cinemas
Through September 24, 2011 - New York

The New York Television Festival is a week-long celebration featuring screenings of the best independently-produced content, panels and talkbacks with industry thought leaders and creative luminaries and red-carpet premieres of the stars and creatives behind the seasons' most anticipated new network and cable shows. Jonah Hill (Allen Gregory), Jason Sudeikis (SNL), Marc Maron (WTF), Damon Lindelof (Lost), and Phil Rosenthal (Everybody Loves Raymond) headline the 2011 Festival. For a list of scheduled events and tickets go to: http://nytvf.com/2011_boxoffice.htm

Apollo - New York City Ballet
September 24, 2011 -

Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one possibility that is inevitable." The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also children of Zeus and thus his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is a mask that represents the power of gesture; and Terpsichore, Muse of dance and song, whose symbol is a lyre. Stravinsky, who possessed a strong interest in Greek mythology, conceived of and composed the score as a ballet. It was with this work, his second ballet set to the music of Stravinsky, that Balanchine, at age 24, achieved international recognition and began his lifelong partnership with the composer. Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century. His work encompassed styles as diverse as Romanticism, Neoclassicism and Serialism. His ballets for Diaghilev's Ballets Russes included The Firebird, Petrushka, The Rite of Spring, and Apollo. His music has been used in over thirty ballets originating with New York City Ballet from 1948 through 1987, including Danses Concertantes, Orpheus, The Cage, Agon, Monumentum pro Gesualdo, Rubies, Symphony in Three Movements, Stravinsky Violin Concerto, Concerto for Two Solo Pianos, Suite from L'Histoire du Soldat, Concertino, and Jeu de Cartes.

Mercurial Manoeuvres - New York City Ballet
September 24, 2011 -

This witty and cheerful piece for 21 dancers opens with an explosive male variation — a series of bravura leaps performed to a trumpet solo — that is followed by rapidly shifting ensemble work for a corps of women which materializes from behind gauze panels on each side of the stage. After a quietly mesmerizing pas de deux of unfolding turns, arrested leaps and intricate lifts, the ballet ends with squadrons of dancers flying on and off the stage in ever-changing directions, patterns, and diagonals. An early reviewer compared the work's intricate geometry to the paintings of Kandinsky and Malevich. The score by Russian composer Dimitri Shostakovich (1906-1975) fell in and out of favor with the Soviet government as the composer's creative development and fortunes were often determined by political events in the Soviet Union. Shostakovich studied at the Leningrad Conservatory, where his work was encouraged by Alexander Glazounov, the Conservatory's Principal. Shostakovich's 1926 graduation piece, The First Symphony, catapulted him to prominence. During the next decade he composed a satirical opera, The Nose (based on a story by Nicolai Gogol), three full-length ballets, and the first of many film scores. Shostakovich, whose work was influenced by Gustav Mahler and Cesar Franck, wrote 15 symphonies (several of them with epic themes relating to the Russian Revolution and World War II), concertos, quartets, operas, and patriotic cantatas. Christopher Wheeldon, a former soloist with New York City Ballet, retired from dancing in May 2000. He was born in Somerset, England, and joined The Royal Ballet in 1991, the same year he won the Gold Medal at the Prix de Lausanne Competition. In 1993, he was invited to become a member of the NYCB corps de ballet. In addition to dancing, he has choreographed works for New York City Ballet's Slavonic Dances (Dvorak) (1997) and Scènes de Ballet (Stravinsky) (1999), Boston Ballet, Colorado Ballet, Ballet Inc., The Royal Ballet, the Royal Ballet School, and the School of American Ballet. His work can also be seen in the feature film Center Stage (released May 2000). In 2000, Mr. Wheeldon was selected as New York City Ballet's first Artist in Residence.

Ocean's Kingdom - New York City Ballet
September 24, 2011 -

NYCB brings together the legendary Sir Paul McCartney and Ballet Master in Chief Peter Martins for a hallmark collaboration. Ocean's Kingdom marks the first time that McCartney has composed for dance, and Martins' choreography will follow the music's libretto of a romance between lovers from conflicting kingdoms. With costumes designed by another McCartney, renowned fashion designer Stella and projections by S. Katy Tucker with lighting designs by Mark Stanley.

La Sonnambula - New York City Ballet
September 24, 2011 -

Set in a darkly mysterious masked ball, the one-act La Sonnambula tells the story of a Poet who pays suit to a Coquette, who is escorted by the Host. After a series of exotic divertissements, the elegantly attired guests go in to supper, leaving the Poet to himself. In a moment, an apparition in white enters. She is a beautiful Sleepwalker. Entranced, the Poet tries repeatedly to wake her, but she eludes him. The jealous Coquette informs the Host of the Poet's advances to her; enraged, he stabs the Poet. The Sleepwalker reappears to bear the Poet's lifeless body away. The atmosphere of sinister menace that shadows the story is underscored by the Coquette's elaborate, encircling movements, the ball's rather pedestrian social dances, and the enigmatic dance entertainment. The combination of these choreographic elements with the central pas de deux for the Poet and Sleepwalker delineate the spirit of the 19th-century Romantic movement in stark contrast to the conventions it abhorred. Vittorio Rieti (b. 1898), was born in Alexandria, Egypt, and was educated at Milan and Rome. He composed the music for the ballets Barabau and Le Bal for Diaghilev's Ballets Russes, both choreographed by Balanchine. He composed operas and orchestral and other instrumental works in the neoclassical style. He came to the United States in 1940 and collaborated with Balanchine on a number of ballets, including Waltz Academy for Ballet Theatre, Night Shadow for Ballet Russe de Monte Carlo, The Triumph of Bacchus and Ariadne for Ballet Society, and Native Dancers for New York City Ballet. Vincenzo Bellini (1801-35), was born in Sicily and died in France. He was a celebrated and highly popular composer of opera when vocal melody and vocal agility were its most valued constituents. He was a friend of Chopin, who greatly admired his melodic gift. His operas included Norma, Puritani di Scozia, and La Sonnambula. Book by Vittorio Rieti.

Union Jack - New York City Ballet
September 24, 2011 -

Union Jack was created to honor the British heritage of the United States on the occasion of its Bicentennial. Part I is based on Scottish military tattoos and folk-dance forms performed in an open castle square. Part II is a music-hall pas de deux for the costermonger Pearly King and Queen of London, with two little girls and a donkey, danced before a drop suggesting Pollock's toy theaters. Part III is a series of variations employing hornpipes, sea songs, work chants, jigs, and drill orders of the Royal Navy, in a dockside setting. For the finale, hand flags signal 'God Save the Queen' in semaphore code as the Union Jack unfurls. Hershy Kay (1919-1981) established himself as a preeminent orchestrator of musicals with Leonard Bernstein's On The Town in 1944. His works for the ballet include Cakewalk, Clowns, Western Symphony, Stars and Stripes, Who Cares?, and Union Jack; his works for the musical theater include Peter Pan, Once Upon a Mattress, Candide, A Chorus Line, Evita and Barnum. A composer in his own right, Hershy Kay also reconstructed Louis Moreau Gottschalk's Grande Tarantelle for Piano and Orchestra, which later became the Balanchine ballet Tarantella. Mr. Kay's work also includes a children's record, Mother Goose.

Israel Galván - La Edad de Oro - Joyce Theater
Through September 25, 2011 -

Israel Galván, a winner of Spain's prestigious National Dance Award, opens the Joyce fall season with a sensational solo performance that shows why he has been called the William Forsythe of flamenco. Performing to pulsating live music that drives his lightning fast footwork, Galván embodies a post-modern approach to flamenco that strips the art down to its bare essence and gives it an inspired twist. "He is seductive without trying to be," proclaims The New York Times, "and if this is what new flamenco means, bring it on."

Bill T. Jones/Arnie Zane Dance Company - Body Against Body - New York Live Arts
Through September 25, 2011 -

Body Against Body returns to Bill T. Jones's roots in the avant-garde with a program that revives and reconsiders the challenging, groundbreaking works that launched Jones and the late Arnie Zane, his partner and collaborator of 17 years. These works, two of which premiered at Dance Theater Workshop in the '80s, include some of the most significant examples of the postmodern aesthetic; pieces that redefined the duet form and changed the face of American dance. Both conceptually and physically rigorous, the works take on new life through the diverse dancers of Jones's company, providing a rare look at the origins of a widely acclaimed choreographer. The program includes the newly reconstructed duets Valley Cottage: A Study (1980) and Monkey Run Road (1979), pieces not seen in New York City since their premiere performances.

Beginner Flamenco Singing Class-Fall Session - Flamenco Latino
Through December 17, 2011 - New York

Flamenco Latino offers a new class in Cante (flamenco singing) for beginners. Most classes will be led by Alfonso Cid with a couple of sessions led by Basilio Georges and Aurora Reyes on the established material. Fall Session runs September 8-December 19, 2011 on Thursdays 6:30-7:30 pm at Flamenco Latino Studio 250 W. 54th St., Suite 404 New York, NY 10019 212-399-8519 Cost: Fall term prices: --12 pack paid in advance- $192.00 ($16/class) --12 pack paid in three installments by credit card- $204.00($68/4wk term, $17/class) --4 pack paid in advance-$72.00 ($18/class) --Walk in class- $20.00 (only available until 9/27) In this course, students will learn the basics of flamenco singing, emphasizing diaphragmatic breathing and voice placement or “impostatción.” The class will start building upon basic cante repertoire such as sevillanas, tangos,fandangos and rumbas. The class will also focus on flamenco rhythms and handclapping, flamenco scales and terminology so students can communicate in the traditional lingo with guitarists and flamenco dancers. Lyrics and translations of the “letras” will be provided. The course is taught in English, and no previous knowledge of music or Spanish is required. It is ideal for people who want to deepen their understanding of flamenco music or for flamenco dancers who want to broaden their experience of this art form. Please respond by email or call 212-399-8519 with questions or to reserve.

Flamenco Latino Fall Classes - Flamenco Latino Studio
Through December 19, 2011 - NY

Flamenco Latino offers a wide variety of classes each week in their midtown studio at 244 W 54th St., 4th fl.! Fall term: September 6- December 19, 2011. Monday: Basic Beginner Flamenco with Aurora Reyes, Mon. 6-7 pm; Advanced Beginner Flamenco with Aurora, Mon. 7-8:30 pm; Group Intermediate Cante Class with Alfonso Cid, Mon. 8:30-9:45 pm. Tuesday: Advanced Beginner Flamenco Incorporating Props (Castanets, Hat, Fan & Shawl) with Aurora, Tues. 6-7:30 pm. Wednesday: Beginner Sevillanas with Aurora, Wed. 6:30-8 pm; Advanced Beginner Flamenco Guitar Group with Basilio Georges, Wed. 8:00-9:30 pm. Thursday: Beginner Cante with Alfonso and Basilio, Thurs. 6:30-7:30 pm; Flamenco Music Ensemble with Basilio, Thurs. 7:30-9:30 pm. Friday: Intermediate Group Guitar with Basilio, Fri. 12:15-1:15 pm. Saturday: Advanced Beginner/Intermediate Flamenco with Aurora, Sat. 3:00-4:00 pm; Basic Beginner Flamenco Guitar Group with Basilio, Sat. 4:00-5:00 pm. Fall term prices: --12 pack paid in advance- $192.00 ($16/class); --12 pack paid in three installments by credit card- $204.00($68/4wk term,$17/class); --4 pack paid in advance-$72.00 ($18/class); --Walk in class- $20.00 (only available until 9/27). Email flamlat@verizon.net or Call now with questions or to reserve! 212-399-8519 www.flamencolatino.com

Flamenco Class Incorporating Props - Flamenco Latino Studio
Through December 19, 2011 - New York

Aurora Reyes, of Flamenco Latino, offers Flamenco Dance Incorporating Props for Adv. Beginners Tuesdays, 6-7:30 PM. Fall term runs September 6- December 19, 2011 at Flamenco Latino Studio, 244 W54 St., 4th fl. (bet. Broadway and 8th Ave.). Technique and choreography for dances that use... -- castanets and Sombrero Cordoves. For example, Tanguillos de Cadiz, and Garrotin (hat only) dances. --Abanico (fan) as in such dances as Guajiras (fan + castanets) and Caracoles (fan only). -- manton (shawl) used in Solea and Seguiriya. We plan to rotate palos. We have extra fans, mantons, hats and castanets at the studio in case you forget yours! Fall term prices: --12 pack paid in advance- $192.00 ($16/class) --12 pack paid in three installments by credit card- $204.00($68/4wk term,$17/class) --4 pack paid in advance-$72.00 ($18/class) --Walk in class- $20.00 (only available until 9/27) Email or Call 212-399-8519 to reserve. www.flamencolatino.com

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