Due in large part to the recent hit series “Dancing with
the Stars,” many Americans have been reawakened to the magic
of ballroom dance. The spunky foxtrots and cha-chas remind us of
the intrigue, romance and glamour that is dance. But for those who
have yet to enroll in lessons at their local Arthur Murray dance
studio, don’t worry: Inspiration has arrived.
This weekend, Julio Bocca’s dance company, Ballet
Argentino, will perform “BoccaTango” at Royce Hall from
March 10-11. Unlike the former music and sports stars featured on
“Dancing with the Stars,” Bocca has been an
international dance star for more than 20 years and is often
compared to famed dancers like Mikhail Baryshnikov and Fred
Astaire.
In his native Buenos Aires, Bocca fills stadiums of 100,000 and
enjoys rock star status as Argentina’s favorite son.
“BoccaTango” has been critically acclaimed
internationally for its unique synthesis of the athleticism of
ballet with the bravado and passion of the tango.
In many ways this performance’s choreography and music are
a reflection of Bocca’s love for his homeland.
“I love my country. (“˜BoccaTango’) is inspired
by Buenos Aires, the tango and all the music that we have,”
Bocca said.
Ballet Argentino is an elite collection of Argentina’s
young dance talents. Bocca established his company in the early
1990s with the hope of creating Argentina’s next national
company while giving fresh dancers professional experience. His
school currently instructs about 500 students.
“What I do with this company is a lot of young dancers
come and join (Ballet Argentino) and after that they go and join a
bigger company,” he said.
What makes Ballet Argentino’s performance of
“BoccaTango” so different from most ballets is its
unrelenting excitement coupled with a distinct sense of
approachability. Bocca candidly admits that he wants his
performance to have the energy of a rock concert.
“You’re not going to do a whole three-hour classical
ballet because people are not going to stay three hours. You have
to mix the modern and the classical to give you something like a
rock concert,” Bocca said.
Bocca’s abandoning of ballet’s traditional confines
and his desire to expose people to the heart of dance allow the
company to reach huge crowds.
“I do a performance for 100,000 people outdoors, and
it’s amazing because every year new people come and they say
“˜Thank you, because I was always very scared to come and see
ballet and I really enjoyed it,'” he said.
The performance also deviates from the standard model of ballet
productions by featuring only a handful of dancers and minimal set
design. Bocca’s focus is only on the dance; he hopes the
audience will feel the same.
“Just enjoy the music and what we do in that moment. The
show is very simple, very intimate. It’s no big production
but it’s very nice to watch,” Bocca said.
But “BoccaTango”’s staging has a certain
historical and cultural significance as well. The
production’s minimalist approach is due in large part to the
collapse of Argentina’s economy in the early millennium. Out
of the depression came “BoccaTango” as a means to
entertain the Buenos Aires population and support local dancers who
were out of work.
One aspect of the performance that will surprise many viewers is
the way in which the pieces are choreographed. While most Americans
assume the tango is a dance between a man and a woman, this
performance presents other partnerings as well.
Ana Maria Stekelman’s choreography showcases solo dancers,
same-sex dance partners, trios and the more familiar male-female
pairing. Such arrangements, though seemingly unorthodox to most
viewers, are actually historically accurate.
But as the title of the performance would suggest, Bocca himself
brings “BoccaTango” to life. In the majority of his
performances, Bocca’s personal charisma and brilliant talent
outshine his fellow dancers, the choreography and accompanying
music.
“BoccaTango” literally marks the end of
Bocca’s fabled career as a principal dancer with the American
Ballet Theater, a Broadway career as a lead in “Fosse,”
and multiple roles in Argentine films.
The performance also marks the last time Southern Californians
will have the opportunity to see Bocca locally; after
“BoccaTango,” Bocca plans to limit his performances to
his native Argentina.
Whether attending “BoccaTango” for a final reason to
sign up for ballroom classes or to justify buying those new dancing
shoes, audiences will witness a modern ballet master at work.