Friday, February 6, 1998
The heartbeat of dance
DANCE: Ballet and contemporary dance legend Mikhail Baryshnikov
continues to
innovate onstage, using a heart monitor to literally create
rhythms all his own
By Stephanie Sheh
Daily Bruin Senior Staff
Baryshnikov.
"The term is like an icon. There are certain words that come
forward that are sort of one word, that identify greatness," says
UCLA Center for the Performing Arts director Michael Blachly
reverently of dancer Mikhail Baryshnikov.
And the icon is coming for a two-week engagement in a series of
solo performances. "An Evening of Music and Dance," jointly
presented by the Center for the Performing Arts (CPA) and the
Japanese American Cultural Community Center (JACCC) arrives at the
Wiltern Theatre Saturday evening.
"I think there’s a little bit of nervousness as with any
premiere for our city, but this man represents dance on this
planet," relates Duane Ebata, executive producer of the JACCC. "So
there’s a great deal of faith and conviction in his work and in his
ability."
Known as a great ballet dancer for years, Baryshnikov branched
out with the creation of his White Oak dance company in 1990,
dedicated to the pursuit of contemporary dance.
But according to Blachly, it was only last-minute scheduling
changes in Baryshnikov’s engagements that allowed him to return to
the Wiltern. So the two organizations have only had since early
December to prepare for the dancer’s arrival.
"Clearly the expenses involved with it are significant, but the
opportunity to share this artist with Los Angeles and our
respective audience is something that really did have to occur,"
Ebata says.
Last spring, the legendary dancer and his troupe performed their
White Oak Project at the Wiltern, which was also jointly presented
by CPA and JACCC.
"It’s definitely going to be a whole different program than what
we did at the Wiltern (last time)," reveals Margaret Jones, a
violinist in the White Oak Chamber Ensemble. "Last year’s
performance had very unusual dance and music. And this program, I
think, at least in its content is a little bit more traditional as
far as the dance and music go."
For one, the performance this time is a night of solo dance
accompanied by live music. Interspersed between Baryshnikov’s dance
numbers will be musical interludes.
"Misha (as Baryshnikov is affectionately called) has been very
diligent in his allegiance to the live music," says Jones, who has
been with the White Oak Ensemble for three and a half years.
"Whenever there is music it is always live. A lot of dance
companies around the country, struggling, like most arts
organizations do, the first thing to go often are the musicians.
They succumb to using taped music.
"It’s unfortunate because I think live music adds a whole other
dimension," Jones continues. "It really makes it such a complete
package. Dance and live music is quite something because a live
performance is never going to be the same twice. In this particular
program, Misha will react to our performance as it differs slightly
from night to night."
In "Heartbeat: mb," one of the solo performances, Baryshnikov
dances to the sounds of his own heartbeat. A heart monitor connects
to two places on his body. Another device attaches onto his left
rib cage, transforming the electricity generated by his muscle
movements into a rushing, static sound.
"This piece is most fascinating to me," Jones admits. "It suits
him so well because in the first half of the piece he does do a bit
of improvising and has fun with his heartbeat. It maybe speeds up
or slows down suddenly. It’s been known to skip a beat
sometimes."
Jones says that it is fun to watch Baryshnikov playing with his
heartbeat, but the concept of the piece is a bit more symbolic.
"The first part is all about the anatomy of the heart as a
physical structure," Jones explains. "Then when the music does come
in we go over to the aspect of the heart as the soul. Then it all
ties together and it’s a very really effective piece. People have
been really strongly affected by it."
Baryshnikov worked with sound artist Christopher Janney and
choreographer Sara Rudner in creating "Heartbeat: mb." And
according to Jones, collaboration and a free flow of ideas play a
large part in creating pieces for the White Oak Project.
"As far as the music that gets chosen for dance, it’s a very
collaborative effort within the company," Jones says. "(The
ensemble) very often makes suggestions like, ‘Oh this is a
wonderful piece. This would be great choreographed.’ And oftentimes
those suggestions are taken to different choreographers that Misha
might be working with."
In this particular program, the White Oak Ensemble were the ones
that chose the three musical interludes that play out between
Baryshnikov’s various solos. Of course, the dancer himself had
final approval of all the musical choices.
Jones says, "He’s definitely a perfectionist, but in the best
sense of the word."
Blachly, who worked with Baryshnikov during his visit to the
Wiltern last spring adds, "He is a consummate professional. Once
he’s committed to a project, once he’s decided on what he feels the
project represents, how it should be staged, he takes it forward to
the absolute best of his artistic aesthetic ability."
Blachly also echoes Jones’ sentiments regarding the dancer’s
openness to different input by recalling Baryshnikov’s last
visit.
"We suggested some changes in last year’s program, and he
welcomed our input," Blachly says. "He didn’t make a decision right
away. He really takes what he does seriously. He’s not in it just
for the show, just for the money, just for the response. He really
believes so strongly and is so dedicated to the art form and how it
resonates for our public."
One of the reasons Jones says that Baryshnikov is so inspiring
to work with is the fact that he is "so knowledgeable, not just
about his craft, not just about dance, but about music and
literature and the arts in general."
Blachly concurs, "Baryshnikov is one of the names that
transcends beyond the dance community. He’s got a reputation in
film and in theater, in live performance, as well as his image
which speaks for dance. The fact that he is still performing at the
age of 50, beyond the performing life of many active dancers
indicates a real active history with an art form."
And the White Oak Project marks the dancer’s devotion to the
continuing exploration of the art from.
"One piece of what White Oak represents is Baryshnikov’s move
away from the classical tradition of ballet," Blachly says. "It
represents modern choreographers. So it’s not just a number of pas
de deux (ballet duet) that would be known through the great story
ballets or work out of the Ballachine era. It really is
acknowledging newer choreographers that really is significant in
terms of how the art form is changing."
And while Baryshnikov is out performing solo pieces, his dance
company is still furthering the art form back in New York. The
troupe is perfecting new pieces that will be performed for their
domestic tour in June.
DANCE: Baryshnikov will perform "An Evening of Music and Dance"
at the Wiltern Theatre this Saturday and Sunday and on Feb. 11-14.
For more information, call (310) 825-2101.
UCLA Center for the Performing Arts
Mikhail Baryshnikov in "An Evening of Music and Dance."
Photos by UCLA Center for the Performing Arts
(above) Mikhail Baryshnikov switched his focus from ballet to
contemporary dance when he started the White Oak company. (right)
Mikhail Baryshnikov in "An Evening of Music and Dance."