May 2008

What makes a dance performance memorable, enjoyable and breathtaking? We always mention the artistry of the dancers, the beauty of the choreography, the music, the costumes, the scenic design, but there is also something else that is less discussed and often taken for granted that one could call the "curatorial" role of the artistic director. A powerful performance takes you on a journey from deep introspection to powerful joy to profound sorrow. But how is it achieved? Is it simply by chance or is it the result of a serious creative reflection?

Eduardo Vilaro tells us more about the ins and outs of putting a performance together.

Eduardo, where do you start? Tell us about the next concert, how is it coming to life?
When I program a performance, it either starts with a theme that has been brewing in my mind for some time or evolves organically from the choreographers we're working with. When choreographers come to work with Luna Negra Dance Theater, they understand the mission of the company and come to it from their point of view. There is a common thread that binds their creative spirit with our mission. For instance, two Mexican choreographers may have different processes of working, but they have a unifying cultural background that at some point or other will be reflected in their work. It is my job to observe and expose the common themes that bind the works we present.

As I prepare our next fall season program at the Harris Theater for Music and Dance on September 26 and 27, I am aware of a theme that will be very evident to the audience, the theme being one of "cycles." I will discuss this with our team and build clear marketing and audience development tools that hopefully will open a wide path of accessibility to the work. But there is also a subtle theme that I call "disappearing" or the impermanence of life, people and cultures. I hope it will surface as the audience sits through the evening and will evoke many emotional ties both sad and celebratory. And so when I think about the evening, I must be aware to bring all of the colors, levels and shades of those thematic components through the programming.

How do you choose choreographers?
I choose them like I choose a new dish or some style of food I have never had before. There must be a certain amount of risk to try something new followed by the patience to stay the course. Like cooking there are many styles and each new choreographer brings to Luna Negra his/her own technique and style of "cooking." It is my responsibility to assure that his/her style is a good compliment to the table that is Luna Negra Dance Theater and our artists.

I also like to choose choreographers that are not afraid to explore their culture and comment on what that means to their work. Most of them tend to be at an early stage in their development and usually are very open to taking risks. Since Luna Negra has such a specific mission, the process of choosing a choreographer seems more ground breaking, simply because we are discovering Latino chorographers and not just picking from a menu of those already working in the field.

How long does it take to put a program together?
It takes a good three months between rehearsals and bringing all the elements together that are necessary for the work. It is a whole lot of scheduling and meeting and brainstorming. It also takes many different people with many different talents; lighting designers, costume designers, scenic designers, composers, musicians, editors, writers, etc. We all have to come together and agree to disagree and then be in a continuous dialogue throughout the production.

Do funders or sponsors play a role in the programming?
Yes, they play a supportive role. They are the back bone of the work because their support sustains the many areas, such as administrative and technical, which are crucial to the programming. They have no artistic say but they do have an aesthetic and have ownership in what the company does and how we affect the community. Sponsors and funders are important partners in programming.

Photo by Kristie Kahns, featuring Veronica Guadalupe and Anthony Peyla.

 In the Wings: Louis James Jackson

Louis James Jackson joined Luna Negra Dance Theater in 2008 and has already impressed the audience with his intensity and passion. Jackson attended The Ailey School in 2007 and joined Luna Negra in January 2008. Although still early in his career, Jackson has already had to get over a discoid meniscus (knee injury) and face the fear of not being able to dance professionally. In the process, he's found his own voice and commitment to dance.

Says Jackson: "Fighting my own fears about the future has been my most challenging experience in life. By letting go of all fears and allowing the technique to mold me over I have been able to find a place of satisfaction, encouragement, and determination. The many forms of support that I have received from friends, family, and mentors have allowed me to take the step from student to professional. Everyday at the barre is a new beginning. Each rehearsal is a chance for new discovery. Every performance is a window to heaven. Dance is not a job but a lifestyle and thankfully I am able to do what I love with a respect for the discipline and a voyage of new discoveries for the future without being afraid."

Now, with Luna Negra, Jackson is taking everything he's learned and putting it to work. "I am motivated and inspired by the breath and variety of the choreography we're learning and by the different groups we're performing for: students, adults, children, it's wonderful."

Photo by Cheryl Mann, featuring Louis James Jackson.