Today’s multimedia, electronic world bombards us with images, ideas and influences vying for our attention, sometimes to the point where we are unsure of how to respond. HSDC Artistic Director Jim Vincent has found one way—through his new work One on One, which receives its world premiere during the company’s 2008 Winter Series December 3–7 at the Harris Theater for Music and Dance in Millennium Park.

Vincent describes One on One, which he dedicates to his wife France, as a series of encounters inspired by the often-recurring current events that occupy our attention and influence our lives. “These are like six interrelated short stories, each involving an interaction or confrontation—between people, between people and objects or both,” he said. “If it were feasible, the audience would see all the scenes simultaneously.”

One of the six sections originally was the opening duet of an earlier Vincent work for HSDC, Uniformity, which used different pieces of music in each of its three parts. Vincent set that duet to Vivaldi, setting the other two sections to music by David Lang and Jimi Hendrix. One on One is set entirely to Vivaldi.

Despite incorporating some existing material, One on One is a departure for Vincent from his other works for the company. “My earlier HSDC works were larger and more architectural, musical and movement-focused,” he explained. “This work is more personal and intimate; it is my response to everything that is going on around me, around all of us. And I’m looking to provoke a response to that response.”

Vincent hopes to put the audience at ease by presenting images that might be recognizable or ideas with which they are familiar. He stated, “In response, what may start as laughter at something funny may evolve into laughter that comes from awkwardness. One of the keys to the piece is that everything out there is identifiable.”

Vincent has a unique role with the company when he creates a new work in that he must be the artistic director for one part of the day while shifting to being the choreographer for another part of the day. He sees both advantages and challenges to that duality.

“The best way to get into something is to get away from it,” he stated. “The fact that I must disengage from creating to handle my other responsibilities sometimes makes it easier to see the piece more objectively when I come back to it.”

Vincent also has the perspective of overseeing the company’s artistic identity and viewing new works in that context. “I have to weigh what I, as artistic director, know the company needs to balance a program or a season in terms of the size, content or mood with what I, as a choreographer, might want to explore. It gets complicated because I can’t focus on either exclusively.

“But the truth is that I like my curatorial role as much as I like creating, and I’m fortunate that I have the opportunity to do both for this company.”

One on One premieres during the 2008 Winter Series December 3–7 at the Harris Theater. For tickets, visit hubbardstreetdance.com or call 312-850-9744 Monday–Friday 10 a.m.–4 p.m.

Creation of One on One is generously sponsored in part by John and Caroline Ballantine, the Elizabeth F. Cheney Foundation and Sidney and Sondra Berman Epstein.

A Conversation with Johan Inger
HSDC to Premiere Inger’s Walking Mad in 2008 Winter Series

In December, HSDC establishes a partnership with internationally respected choreographer Johan Inger when the company premieres his 2001 work Walking Mad, set mostly to Maurice Ravel’s “Bolero” as well as Arvo Pärt’s “Fur Alina,” with décor and costume design also by Inger. New York Times dance critic Anna Kisselgoff declared that Inger was “a choreographer to watch” when Holland’s Nederlands Dans Theater (NDT) performed Walking Mad at the Brooklyn Academy of Music in 2004. HSDC’s premiere, during its 2008 Winter Series December 3–7 at the Harris Theater for Music and Dance, will be the first performance of the piece by a U.S. company.

Inger was born in Stockholm and educated at the Royal Swedish Ballet School and at the National Ballet School in Canada. In 1985 he joined the Royal Swedish Ballet, becoming a soloist in 1989. In 1990 he joined NDT, dancing with the company until 2002. Inger’s official breakthrough as a choreographer came with Mellantid (Swedish for In Between Time)—his first work for NDT II—as part of the 1995 Holland Dance Festival. This work was crowned with the 1996 Philip Morris Finest Selection Award in the category of Contemporary Dance. Mellantid was followed by several creations for NDT I, NDT II and NDT III. In 2001 Mellantid was nominated for the British Laurence Olivier Award as Best New Dance Production. Also in 2001 Inger received the Lucas Hoving Production Award for his works Dream Play and Walking Mad. He assumed artistic leadership of Cullberg Ballet in 2003, creating new works continuously until he stepped down from the position in summer 2008 to devote himself exclusively to choreography. Other companies that have performed his work include Monte Carlo Ballet, Dresden Ballet, Gothenburg Ballet, Essen Ballet and Finnish National Ballet. He will become associate choreographer with NDT, beginning in the 2009–10 season.

What was the inspiration for Walking Mad?

It all started from an idea I had about a wall that could change the space in very unpredictable ways. Once I had figured out the different spaces the wall would create, I started to fill them with characters and situations. The piece evolves around a man on a journey to something, encountering a new world, a world of madness, playfulness and sadness. I wanted the audience to feel as if they had been taken on an emotional roller-coaster ride. The result of these ideas became Walking Mad.

How did you choose the music?

I was offered the opportunity to do a creation for NDT with orchestra. I had listened to the famous “Bolero” by Ravel for some time. I liked the simplicity and the power of it. I think that most of us have heard “Bolero” at some point in our lives and therefore have a relationship to the music, which meant that I had to surprise the viewer; otherwise it would just become another “Bolero” cliche. The music has something sensual and has often been interpreted that way, so I chose to keep a sense of man/woman relationships in the work. It was a great challenge and I was far from sure that I could meet the music and not be overpowered by it, but I thought that if one had a strong enough idea to match the music, it could be great.

What are the challenges and opportunities of setting an existing work on a new company?

It is always very interesting to see a new company learn and perform this piece. I have by now seen a few companies perform it and it is always a bit different; the “skeleton” of the work remains the same, but it is when the dancers apply the “flesh” and their interpretations of the characters that the piece comes alive and finds its soul. Walking Mad will be a technical challenge for the dancers but what is more important will be their honesty as artists in capturing the truth of the work. I am confident that the Hubbard dancers have the ability to turn it into a great encounter between them and the audience.

Why do you think Hubbard Street Dance Chicago is a good match for your choreography?

The company has a wide range of knowledge and skill; my feeling is that you can throw anything their way and they will turn it into something special. I am looking forward to working with the company as well as experiencing the Chicago audience in December. I believe it is going to be a very exciting evening.

Hubbard Street 2 Welcomes Audiences of All Ages
Dec. 6 Family Matinee Features World Premieres and HSDC Favorites

Inspiring families with the beauty, energy and excitement of contemporary dance, Hubbard Street 2 (HS2) offers a matinee performance on Saturday, December 6, during the main company’s 2008 Winter Series at the Harris Theater. The program, combining world premieres, beloved audience favorites and interactive sessions with HSDC’s education staff, is sure to entertain young viewers discovering contemporary dance as well as audience members returning to experience new work by emerging artists.

“Our Family Matinees aim to engage young people with our work, thus helping develop future dance audiences,” explained HSDC Artistic Director Jim Vincent. “At the same time, we want to share choreography and performance by emerging artists, the artists we look to for HSDC’s future.”

Among the new voices whose work will premiere on the December program are two winners of HS2’s 2008 National Choreographic Competition. Leslie Telford’s Page One is inspired by the HS2 dancers’ memories from the earliest times in each of their lives that they can remember. HSDC dancer Terence Marling was also inspired by the involvement of the HS2 dancers when he choreographed Glass Skin, both in creating the movement and the music.

Two HSDC main company works have been adapted for HS2 and appear on this program: Float, Julian Barnett’s playful duet danced to an Icelandic pop song that is a consistent favorite of young audiences, and HSDC dancer Brian Enos’s Diphthong, set to the funky rhythms of Zap Mama that leaves viewers wanting to get up and move.

Presenting an eclectic mix of dance styles set to a wide range of music, the Hubbard Street 2 Family Matinees offer an affordable entertainment opportunity for Chicago families.

HS2’s next Family Matinee takes place Saturday, December 6 at 3 p.m. at the Harris Theater. Tickets are $9 for children younger than 12, $18 for adults, and are available at hubbardstreetdance.com or 312-850-9744 Monday–Friday 10 a.m.–4 p.m.