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RETRATO
DE FAMILIA

Photo by Enmys López Hernández

Ancla 1

CHOREOGRAPHY Esteban Santiago Aguilar

MUSIC Philip Glass and Asaf Avidan

COSTUME DESIGN Guido Gali and Esteban Santiago Aguilar

LIGHTING DESIGN Guido Gali

6 bailarines - 17 minutos

 

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VÉRTIGO

Photo by Enmys López Hernández

CHOREOGRAPHY Susana Pous

MUSIC Boris Covac y Alexander Balanescu 

COSTUME DESIGN Guido Gali

LIGHTING DESIGN Guido Gali

6 bailarines - 22 minutos

 

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A DANCING ISLAND

Photo by Enmys López Hernández

CHOREOGRAPHY Osnel Delgado

MUSIC Alejandro Falcón, Ted Nash y Trío Cubadentro

COSTUME DESIGN Guido Gali

LIGHTING DESIGN Manuel Da Silva 

12 bailarines 

 

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NANA PARA UN INSOMNIO

Photo by Enmys López Hernández

CHOREOGRAPHY Daile Carrazana  

MUSIC Jordi Sabatés 

COSTUME DESIGN Daile Carrazana

LIGHTING DESIGN Guido Gali 

bailarín Osnel Delgado

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FLOOR... Y ANDO 

Photo by Frank D. Domínguez

Fielding Sixes

CHOREOGRAPHY Ephrat Asherie 

MUSIC Emajoy Tsegué Maryam Guèbrou

COSTUME DESIGNEphrat Ascherie 

LIGHTING DESIGN Guido Gali 

PIANO Carolina Baños

 

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LA ÚLTIMA CANCIÓN 

Photo by Frank D. Domínguez

Liquidotopie

CHOREOGRAPHY Daile Carrazana (Cuba)

MUSIC Maria Teresa Vera/Lorenzo Hierrezuelo. Jordi Sabatés 

COSTUME DESIGN Rachel Forbes

pIANO Carolina Baños 

LIGHTING DESIGN Guido Gali 

 

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ELEMENTAL

Photo by Rachel Aka

Elemental

CHOREOGRAPHY Robyn Mineko Williams

MUSIC Tim Rutili, Ernesto Lecuona, Pedro Vargas/Benny More, Arvö Part, Panda Bear, Chris Merrill, Robby Haynes, Robyn Mineko Williams

musical supervisor Robby Haynes

COSTUME DESIGN Branimira Ivanova

LIGHTING DESIGN Burke Brown

 

10 dancers — 26 minutes

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Elemental is made possible through the generosity of Pamela Crutchfield (Lead Comissioner) with additional support from Patti Eylar & Charlie Gardner and Amalia & William Mahoney.

TABULA RASA

Photo by Raúl Reinoso

Tabula Rasa

CHOREOGRAPHY Ohad Naharin

MUSIC Arvo Pärt

COSTUME DESIGN Eri Nakamura

LIGHTING DESIGN Ohad Naharin

 

10 dancers — 30 minutes

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"[Tabula Rasa] seems tailor-made for the men and women of Malpaso."

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Robert Greskovic, The nEW YORK TIMES

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"This multipart and extended piece lays abstract dance immediately atop

clear, intentional storytelling to form an engrossing and accessible

work – this program's most memorable and worthwhile."

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Dustin K. Britt, CHATHAM LIFE & STYLE

Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. It premiered on Malpaso Dance Company on May 4, 2018 in Havana-Cuba.

FACE THE TORRENT

Photo by Rose Eichenbaum

FTT

CHOREOGRAPHY Sonya Tayeh

MUSIC Colette Alexander and the Bengsons

COSTUME DESIGN Karen Young

LIGHTING DESIGN Nicole Pearce

 

8 dancers — 20 minutes

 

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"...[Face the Torrent] took Malpaso to a much darker place, an unspecified inky, secret world of tension, whispers, quivering, fear and lineups...[it] had genuine raw emotion."

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Laura Bleiberg, LA TIMES

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Face the Torrent was commissioned by The Music Center, and was created in part during the Vivienne Jones Residency at Jacob's Pillow as well as during a 2017 creative residency provided by DANCECleveland.

Sonya Tayeh discusses her commission for Malpaso Dance Company, Face the Torrent, with Joyce Theater Producer Ross LeClair.

DREAMING OF LIONS

Photo by T.M. Rives

DOL

CHOREOGRAPHY Osnel Delgado

MUSIC Composed by Arturo O'Farrill, performed by the

Afro Latin Jazz Ensemble

COSTUME DESIGN Reid & Harriet Design

LIGHTING DESIGN Al Crawford

 

11 dancers — 60 minutes / Live music possible

 

Dreaming of Lions is a new dance work by Osnel Delgado, the resident choreographer and Artistic Director of one of the newest and most sought-after Cuban contemporary groups, Malpaso Dance Company. Taking inspiration from Ernest Hemingway’s beloved novella The Old Man and the Sea, Delgado offers an abstract rendering of the classic tale of an old man’s quest to catch an elusive fish. Featuring a unique movement vocabulary performed by exceptionally trained dancers versed in both ballet and Cuban techniques, the work wrestles with themes of honor, determination and loss, in one fisherman’s crusade for victory in the unrelenting sea.

 

An evening-length work for 11 dancers, Dreaming of Lions engages a creative team of frequent collaborators including Grammy award-winner Arturo O’Farrill and his Afro Latin Jazz Ensemble, who, when possible, play live; lighting design by the resident lighting designer of Alvin Ailey Dance Theater, Al Crawford; and costumes by Reid & Harriet, who have worked with American Ballet Theatre, New York City Ballet and many more. Fernando Saez, the company’s Executive Director and co-founder, provides dramaturgy.


This project was made possible by Joyce Theater Productions, a producing partnership of The Joyce Theater Foundation, Inc. (New York) and Sunny Artist Management, Inc. (Toronto).  It was formed to create and tour works by some of today’s most exciting dancers and choreographers.  The piece made its world premiere in Havana, Cuba in September 2016, and will make its US premiere at Duke Performances in Durham, NC on February 24 and 25 2017, followed by an engagement in NYC at Brooklyn Academy of Music from March 1-5 2017.

Dreaming of Lions was co-commissioned by the Luminato Festival, Joan and Jerry Lozinski from Toronto (Canada), and The Yard.

A technical residency was generously provided by Duke Performances for the US premiere of Dreaming of Lions by Osnel Delgado.


Additional support provided by the following generous funders: Con Edison, Doris Duke Charitable Foundation, Jerome L. Greene Foundation in honor of Karen Brooks Hopkins, Todd Gordon and Susan Feder, Lisa and Richard Witten, and Diana and Dick Beattie. The work is dedicated to Ronald Feiner.

INDOMITABLE WALTZ

Photo by Judy Ondrey

Waltz

CHOREOGRAPHY Aszure Barton

MUSIC by Alexandre Balanescu, Michael Nyman and Nils Frahm

COSTUME DESIGN Fritz Masten

LIGHTING DESIGN Nicole Pearce

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8 dancers — 26 minutes​

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"...totally engrossing...an abundance of distinctive

movement that is both simple and stunning at the same time."

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Tara Mitton Catao, palm beach arts paper

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Indomitable Waltz was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from; the Doris Duke Charitable Foundation, the Executive Director’s Fund at The Joyce Theater Foundation, and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts. 

It was co-commissioned by DANCECleveland and the Cleveland Foundation.


A technical residency was generously provided by Duncan Theater at Palm Beach State College for the US premiere of Indomitable Waltz by Aszure Barton.

24 HOURS AND A DOG

Photo by Judy Ondrey

24 H

CHOREOGRAPHY Osnel Delgado, in collaboration with the dancers

MUSIC —featuring an original overture— composed by Arturo O'Farrill, recorded by the Afro Latin Jazz Ensemble

LIGHTING DESIGN Al Crawford

COSTUME DESIGN Eric Grass

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10 dancers — 45 minutes​ / Live music possible / Shortened "suite"

version of 24 Hours and a dog can also be made available

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"Inspired by the daily life of dancers in Havana,

the work is a non-stop barrage of fluid movement,

supported by admirable technique and an easy musicality."

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Kathleen Smith, now toronto

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WHY YOU FOLLOW

Photo by Bill Hebert

why

CHOREOGRAPHY Ron K. Brown

ASSISTANT CHOREOGRAPHER Arcell Cabuag

MUSIC by Zap Mama, Gordheaven & Juliano,

The Allenko Brotherhood, The Heavy Quarterz

LIGHTING DESIGN Clifton Taylor 

COSTUME DESIGN Keiko Voltaire

 

9 dancers — 23 minutes

 

Yoruba Road

Why You Follow

That path is yours

 

The reason

For your life

 

LOVE FREEDOM PEACE

 

Rolling down Yoruba Road

Like water down a hill

People moving forward

 

Making a way for

The rest

 

Why you follow

Because you must…

To be able to lead

 

Learning on Yoruba Road

En route to the Mother Father

And the child

The children are waiting

On Yoruba Road

 

© Ronald K Brown

 

Why You Follow has been commissioned by The Joyce Theater Foundation.

UNDER FIRE

Photo by Robert Torres

UF

CHOREOGRAPHY Trey McIntyre

MUSIC by Grandma Kelsey

LIGHTING DESIGN Al Crawford

COSTUME DESIGN Reid Bartelme

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8 dancers — 22 minutes​

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“Trey McIntyre’s Under Fire, created for the company,

is one of those rare transcendent works in which music,

movement and mood come together with absolute rightness”

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Tresca Weinstein, Times Union

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"I wanted to burn all of my paper: all of the printed documents that had followed me for my life and had become a weight and a burden. I put them into a bonfire and watched them blacken and spark against the night sky. When the fire went out, I moved some of the charred paper with a stick and found that what was underneath was pristine. In some ways the fire had compacted it, sealed it, made it more of what it is. This struck me as an elegant metaphor for human life. The more we try to burn away and change our exterior, the more our essential born selves become evident and manifest." 

 

— Trey McIntyre

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Under Fire was co-commissioned by The Joyce Theater Foundation and Jacob’s Pillow Dance Festival.

BAD WINTER

Photo by Judy Ondrey

BW

CHOREOGRAPHY Trey McIntyre

MUSIC by The Cinematic Orchestra & Arthur Tracy

LIGHTING DESIGN Travis C. Richardson

COSTUME DESIGN Andrea Lauer

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3 dancers — 12 minutes​

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OCASO

Photo by Robert Torres.

OCASO

CHOREOGRAPHY Osnel Delgado

MUSIC by Autechre, Kronos Quartet and Max Richter

LIGHTING DESIGN Matt Miller

COSTUME DESIGN Osnel Delgado

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2 dancers — 13 minutes​

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“A never-ending cycle of union, separation, union,

separation as the sun sets... flawlessly executed”

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Dustin K. Britt, CHATHAM LIFE & STYLE

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DESPEDIDA

Photo by Cherylynn Tsushima.

DESPEDIDA

CHOREOGRAPHY Osnel Delgado, in collaboration with the dancers

MUSIC Composed by Arturo O'Farrill, featuring the Afro Latin Jazz Ensemble

LIGHTING DESIGN Al Crawford

COSTUME DESIGN Reid & Harriet Design

 

10 dancers — 30 minutes  / Live music possible

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“Despedida is at once elegant and bold, inventive and joyful…"

 

Tresca Weinstein, Times Union

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Despedida draws inspiration from the eponymous poem by Argentinian writer Jorge Luis Borges. The piece deals with themes of solitude and leave-taking. A moment of farewell becomes a metaphor for defenselessness as a condition of human nature; the piece develops a poetic approach to a cultural reality in which the sea, featured as a collective character, plays a defining role. The journey of the work travels through five movements:

Mare Nostrum, The Intruder, The Sound of a Memory, Absence, and Farewell to the Broken Gods.

 

 

Farewell

Between my love and me three hundred nights like three hundred walls will have to be raised and the sea shall be like magic between us. Nothing will remain except memories. O afternoons brought in with suffering, the nights aspiring to see you, the fields on my way, the firmament that I am seeing and losing... Certain as marble your absence shall sadden other.

 

Despedida

Entre mi amor y yo han de levantarse trescientas noches como trescientas paredes y el mar será una magia entre nosotros. No habrá sino recuerdos. Oh tardes merecidas por la pena, noches esperanzadas de mirarte, campos de mi camino, firmamento que estoy viendo y perdiendo... Definitiva como un mármol entristecerá tu ausencia otras tardes

 

— Jorge Luis Borges

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