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According to Fushille, “Indigo” “requires supreme classical precision and offers dancers a wonderful opportunity to showcase their talents.” Senior Smuin company member and featured dancer Erin Yarbrough-Powell agrees that “this piece is a technically difficult piece to dance, but it is so rewarding and satisfying — it’s a real accomplishment to successfully complete.”. Michael Smuin’s own “Stabat Mater” is the second ballet in the series. Created as an outlet for all of the emotion that followed the 9/11 attacks, the ballet allows the audience to become fully immersed in the grief and pain of that event. Smuin poured his heart and soul into this work, one that is widely acknowledged to be one of the finest of his career.

The music by Antonín Dvořak is full and sorrowful and sets the mood as the five couples dance in lyrical, emotive movements, The story, full of pathos and pain, reveals itself to be one of hope and redemption, a testament to the resiliency of the human spirit, The choreography is the most traditional of all of the ballets in Dance Series 01, and the company dances this piece with tremendous heart and feeling, Fushille explains this performance is to honor the 15th anniversary of 9/11, but it is especially timely as “art is an opportunity to bring people together, to unite them, and now, more than ever, lace up ballet flats girls we need to find those commonalities.”..

Directly following the deep and melancholy “Stabat Mater” is Garrett Ammon’s “Madness, Rack, and Honey,” which is a new creation full of playfulness and wit. Ammon, artistic director of Denver-based Wonderbound, has created more than 70 and is known for his exciting blend of tradition and innovation. This latest work, named after Mary Ruefle’s collection of lectures, abstractly presents the theme of the madness and joy inherent in artistic creation. The choreography, according to Fushille, “has a definite ease and flow to it,” and dancers “clearly enjoy the movement, which allows them to get into the meaning of the piece.” Ammon’s use of adventurous, non-conformist choreography, loose narrative, and bold humor may confuse some, but but he wants “to give the audience that comfort in knowing that they can be lost in it, and that’s OK. They can be confused and not understand, and that’s OK.” There is so much happening — the joyful chords of Mozart’s Sinfonia Concertante in E-flat major, K 364, the exhilarating dancing on stage — that audiences are sure to get swept up in the sheer delight of the performance.

Fushille explains that there are several components that make Dance Series 01 a Smuin masterpiece, This is a collection of three ballets that have relevant, engaging stories to tell and Smuin brings them to the stage with its characteristically bold storytelling, lace up ballet flats girls All three pieces are set to classical music, which is not often the case for Smuin’s vibrant and unpredictable lineups, And finally, Fushille says, “this is a lovely range of chorographical styles that these dancers get to master and exhibit and showcase their incredible abilities.” She adds, “this production will be enjoyed by anyone, regardless of their exposure to ballet — there is something here for everyone.”..

When it comes to including female musicians in high profile concert series there’s hardly an organization in the Bay Area that couldn’t do a better job. But a few venues and presenters make a point of showcasing the region’s wealth of women artists, and in March, women’s history month, Berkeley is ground zero for an extraordinary deluge of concerts focusing on female singers, players, poets and dancers who have made profound contributions. Working in collaboration with San Leandro-based Women Drummers International, Ashkenaz is the center of the action with the Maestra Series, a talent-packed program of multi-act concerts starting March 5 with “Songs of Resistance and Love” featuring vocalist/percussionist Linda Tillery and the Freedom Band and Alive!, the pioneering all-women jazz ensemble.

A singer who draws on bottomless wellsprings of soul, Tillery has been a guiding force on the Bay Area music scene for nearly 50s years, After several decades touring with her stylistically expansive Cultural Heritage Choir, she recently created the Freedom Band to focus on songs by African-American composers that gave voice to the social justice struggles of the 1960s and ’70s, Alive! emerged out the ferment of the mid-1970s San Francisco scene, bringing an Afro-Cuban inflected repertoire to the women’s music movement while also earning respect in jazz circles with a powerful body of original tunes, Percussionist Carolyn Brandy, the founder of Women Drummers lace up ballet flats girls International, launched the group with Barbara Borden on drum set and percussion, Susanne DiVincenzo on acoustic bass and cello and Rhiannon on vocals and percussion..

Tammy Hall plays piano for both groups. She’s performed with Alive! since the band reunited for a 40th anniversary concert in 2015, replacing the late Janet Small. Sharp-eyed readers might notice that Hall is the common thread running through many of these March concerts. For Ashkenaz, the decision to showcase groundbreaking women musicians seemed more urgent than ever this year. Founded by progressive activist and folk dance enthusiast David Nadel in 1973, the nonprofit venue “is in a unique position to celebrate all the different people who have come from all over the world and to uplift communities of women and immigrants and people of color,” says Brandi Brandes, who’s coming into her own with the Maestra Series after a year on the job as Ashkenaz’s executive director.

“With the uptick in hate and the new administration in Washington, we thought this is the time to celebrate these women and present them in full context, These are the masters who have contributed to this multi-cultural experiment of the Bay Area.”, Maestra continues on Thursday March 9 with “Black Women Who Rock,” a triple bill featuring Shelley Doty’s Skip the Needle, the Anita Lofton Project and the Afrofunk Experience featuring lace up ballet flats girls Sandy House, And on March 11 the majestic Cuban-born vocalist Bobi Céspedes performs with special guest percussionists John Santos and Javier Navarette, presenting sacred Afro-Cuban chants and surging salsa (she also gives a March 12 afternoon workshop, “Songs to the Female Orishas”)..



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