A moment in the rehearsal of "Majisimo" choreographed by Jorge Garcia.
As arts organizations are still reeling from Gov. Ron DeSantis' veto of arts funding for Florida arts groups for the next year, Dimensions Dance Theatre of Miami, headed by two stalwart and determined individuals, presents “Kaleidoscope,” a beautiful dance program that, once again, reminds us why the arts are an imperative part of life.
Under the direction of Jennifer Kronenberg and Carlos Guerra, two former Miami City Ballet principals, DDTM founded in 2016 has grown to become one of South Florida’s most innovative and established dance organizations, presenting two yearly main stage performances at the Dennis C. Moss Center, partnering with numerous businesses, offering educational outreach and performing in South Florida as well as on tour.
As with all arts organizations, the veto was a shock.
Kronenberg says, “We are devastated. While we always prepare financially, our major operational funding from the state comes in the Fall to help start our season. Now there is nothing until after January. Dimensions will not fall apart, but it was a huge unexpected blow.”
CUBA'S 'MAJISIMO'
The arts are resilient and there is no better representation of that than DDTM’s colorful and rich presentation of “Kaleidoscope” to be performed at the Moss Center on Saturday, July 13, showcasing the beauty and technical prowess of the company dancers in three diverse works.
The audience favorite, “Majisimo” (nice, gentle, friendly) provides a Spanish flair, demanding technique and a swashbuckling lively atmosphere.
Choreographed by Jorge Garcia in 1965 for the National Ballet of Cuba, it is a piece performed the world over. Cuban international star dancer and director, Carlos Acosta, has often restaged it, American Ballet Theater presented it on its principal dancer, Jose Manuel Carreño’s retirement season, the Birmingham Royal Ballet presented it as part of their 30th Anniversary, and now, DDTM adds it to their repertory.
Guerra has wonderful memories of dancing “Majisimo” in Camagüey, Cuba before coming to the U.S. It is a performed to a lively score by Jules Massenet.
Fernando Alonso, co-founder of the National Ballet of Cuba with wife, Alicia Alonzo, took control of the Ballet de Camagüey upon his divorce from Alonso, and took “Majisimo” with him there.
“I always liked it. When I was little, I grew up watching all the dancers that I looked up to perform it. And then I became one of them,” says Guerra. “We performed it several times, and then I left Cuba. I always had a desire to dance it again. When we founded Dimensions, it was always in the back of my mind.”
DANCE CLASSIC
Guerra loves that it is a true classical, difficult dance, and it’s done with style. The fluttering of fans and hops on pointe for the women, huge jumps and turns for the men — to the right and to the left, a feat for most dancers, and dynamic overhead lifts which are not always used in choreography in present day.
Orlando Salgado with Pedro Aldana demonstrating the Spanish flavor of "Majisimo."
“The ballet was staged by Orlando Salgado, a former principal dancer from the National Ballet of Cuba. He knows the ballet inside and out and has staged it all over the world and he now lives here in Miami,” says Guerra. “We have beautiful costumes that were bought about a year ago and we got the rights from José Rodriguez, who also lives here. And we have the right dancers — the timing was just perfect. I love when that happens.”
DDTM has a number of Cuban dancers who grew up knowing of “Majisimo.” It is a dream come true that they have the opportunity to dance it now.
“They’ve been watching this ballet since they started school,” says Guerra. “It’s beautiful to see how excited they are.”
Ryan Jolicoeur-Nye, artistic director and choreographer for Oklahoma City Ballet, is creating a new world premiere for DDTM.
COLLABORATIVE CHOREOGRAPHER
While it’s the first time Jolicoeur-Nye has been working in the studios with the Dimensions dancers, it is not the first time they have done his work. The pas de deux, “On the Sky” was a part of the repertory featuring long-time friend and DDTM dancer, Emily Bromberg. Jolicoeur-Nye worked with Bromberg and her various partners to coach the pas through Zoom. He is presently seeing the complete company for the first time.
“When I don’t know the dancers, as in this case, I typically come in with zero plan, zero idea,” says Jolicoeur-Nye. “I asked what other pieces on the program were like so I could create something that might round it off, but I didn’t really even have music when I started.”
Ryan Joliecoeur-Nye rehearsing his new work.
Whereas some choreographers would get nervous in an "unplanned" situation, this is typically the way Jolicoeur-Nye likes to work. He trusts the dancers, his ability and allows a collaboration among music, dancer and choreographer to occur.
As he’s been in the studio, the music of Italian composer and musician, Ezio Basso has become his prevalent choice for the new work.
“The music is beautiful and I’ve loved watching and hearing Ezio’s interviews. His body was taken over by a neurodegenerative syndrome early in his career, but when he sat to play at the piano, everything just went away. It was really just amazing.”
The work has three men and five ladies. Jolicoeur-Nye says that the more familiar he has become with the dancers, he has more intent on the direction he is going.
“The company is so eclectic, all of the dancers are different. It sort of reminds me of little stories. Each partnership has a little story. Some of the music is sweet and uplifting and some of it is a little sad.”
Emily Bromberg and Maikel Hernandez performing in "Arcadia" (Photo by Simon Soong).
Naming the work is another challenge.
“I never name a piece until it is complete. The dancers are so instrumental in shaping the tone of the piece. I like to step back when the piece is relatively completed and see what the piece makes me feel, what it’s about,” says Jolicoeur-Nye.
“I find when I open myself up and don’t have any preconceived notions, it always turns out better than what I could have imagined,” he muses.
A DDTM COMMISSION
“Arcadia” is artist in residence, choreographer, Yanis Eric Pikieris’s eighth piece for DDTM’s main stage performance.
“Arcadia” clearly shows the maturity, the complexity and confidence that Pikieris has garnered through his DDTM commissions.
It is exuberant, lush and dynamic.
Meisy Laffitte in "Arcadia." (Photo by Simon Soong).
“The creation of this piece has been a little complex,” says Pikieris. “I knew there was a space for a new piece. Early on Carlos (Guerra) introduced me to a visual artist named Christo Guelov. He had never really worked with dance before but knew that he wanted to do something. I was looking through Christo’s website and found a piece that had a juxtaposition between nature and a very colorful, industrial feel — and that interested me.”
Pikieris searched for music that he felt would fit Guelov’s work and also fit his choreography.
“I have so much music saved, and I think this visual helped to guide me in a direction. I found some music by Oliver Davis and sent it to Guelov. He loved it.”
One of the tracks of music is called "Arcadia," which means harmony with nature.
“I think seeing his abstract art meshing so well with the natural surroundings, almost like they didn’t really match, but worked, it seemed right. He sent me some artwork that was a little abstract, not completely literal with lots of colorful little shapes. It was perfect for what I was looking for.”
EXPLODING WITH COLOR
Pikieris made a costume color palette from all the little shapes. The dancers are each in different colors of very simple and form-fitting costumes. It’s a big explosion of color.
“I felt very deliberate in this piece. I knew what I wanted to do with all the music. There is a lot of circular movement, everything is in harmony and moving together,” says Pikieris.
He says that Guelove is creating projections that move and change along with the piece.
“I haven’t seen them yet, but am really excited.”
Pikieris is looking forward to sharing his new work with audiences.
“I always think that the things you are experiencing and are happening around you make their way into your work, whether you’re trying to or not,” says Pikieris. “If an audience takes it that way or it makes them feel a certain way, then that’s amazing.”
IF YOU GO:
- WHAT: Dimensions Dance Theatre of Miami's “Kaleidoscope”
- WHEN: 8 p.m., Saturday, July 13, 2024
- TICKETS: $25 - $45
- WHERE: Dennis C. Moss Cultural Arts Center, 10950 SW 211 St., Miami
- INFORMATION: 786-573-5300 or smdcac.miamidade.gov
