Ohad Naharin and Hubbard Street Dance Chicago

Minus 16 is a Plus on 2008 Fall Series

To open its newly expanded Chicago performance season in 2008–09, Hubbard Street Dance Chicago is reviving one of the most popular works in its repertoire during the past decade, Israeli choreographer Ohad Naharin’s Minus 16.

Minus 16 is a humorous, cutting-edge work that breaks down the barrier between performer and audience, set to a score ranging from Dean Martin to cha-cha, from techno-pop to traditional Israeli music (see sidebar below). One section of the piece features the dancers performing solos that combine choreography, interviews and improvisation.

HSDC performed the U.S. premiere of Minus 16 in fall 2000 at the Cadillac Palace Theatre in Chicago, part of the first Chicago program under the leadership of current Artistic Director Jim Vincent. From its premiere performance through several revivals, the piece has had a powerful impact on all who see it, inspiring thunderous audience ovations and widespread critical acclaim.

Following the premiere, the reviews were unanimous raves. “[a] bravura, action-packed, 30-minute epic,” wrote dance critic Hedy Weiss in the Chicago Sun-Times. “…a surprising, deeply moving look at the human tragicomedy. The company soars.”

“‘Sensational’ does not begin to describe ‘Minus 16,’” wrote Richard Christiansen in the Chicago Tribune. “…a true audience rush and a great Hubbard Street showcase.”

“Minus 16 was the very first piece I learned when I joined the company in 2000, and it introduced me to a world of movement and exploration that I didn’t even know existed,” said dancer Robyn Mineko Williams. “Working with Ohad and [his wife] Mari was such an unforgettable experience—their words remain with me every time I have the opportunity to perform this very special piece.”

“Performing Minus 16 is so unique in that it is different each time,” said dancer Meredith Dincolo. “Certainly, there are choreographic elements that guide the piece, but there are also improvisations that change the piece each time it is performed, which makes for a different experience for both the dancer and the audience each night. That, contrasted with the precision and exactitude of other moments in the work, give the ballet a range and depth the dancers can work with.”

The success of this first collaboration led to the company’s acquisition of several other Naharin works, including the Chicago premiere of his duet Passomezzo in spring 2001; the company premiere of a two-part work, Queens/Black Milk, in 2002; and the Chicago premiere of Tabula Rasa in 2005.

“Ohad is the choreographer we have worked with the most in the past decade,” said HSDC Artistic Director Jim Vincent. “At its core, his work is human, engaging audiences on many levels, whether they know a lot or very little about dance. It’s well-crafted in concept, design and choreographic content, both deeply intense and profoundly funny, and it ultimately resonates with most of us, performing artists and viewers alike.”

“I always learn something when I work with HSDC,” said Naharin. “It’s not just the level of the dancers but their willingness to go beyond limits; it provides a fresh look at my work. They’re open and take care of the work after I’ve gone.”

Ohad Naharin began his career as a dancer with the Batsheva Dance Company in 1974. He came to New York a year later at the invitation of Martha Graham to join her company, as well as to make use of a scholarship to the School of American Ballet. Naharin continued his studies at The Juilliard School and then joined the Maurice Bejart Company in Brussels for one season. He made his choreographic debut in 1980. From 1980 to 1990 Naharin performed and worked in New York. In 1990 he was appointed artistic director of the Batsheva Dance Company and has since launched Batsheva into a new era. His vision has led Batsheva to new artistic heights and worldwide critical acclaim.

Naharin has been the recipient of many awards and honors, most recently from the Foundation for Jewish Culture, which bestowed upon him a Jewish Cultural Achievement Award in June 2008. This award honors a select group of scholars, artists and patrons who have developed and sustained Jewish culture, extraordinary individuals who have created a significant and influential body of work and demonstrated excellence in their field. Naharin’s other honors have included the Chevalier de l'Ordre des Arts et des Lettres by the French government in 1998, two New York Dance and Performance (Bessie) Awards in 2002 and 2003, a Doctor of Philosophy honoris causa by the Weizmann Institute of Science in 2004 and the prestigious Israel Prize for dance in 2005.

The Music of Minus 16: Who knows one?

Chances are, if you’ve seen Minus 16 before, you’ve identified with at least one of the many pieces of music that come together to create this magical work.

Based on excerpts from Ohad Naharin’s works Anaphase, Zachacha, Sabotage Baby and Moshe, Minus 16 captivates the audience with surprising visual and verbal elements. Naharin’s clever and inspiring piece features unexpected musical selections, ranging from Dean Martin to cha cha, bossa nova and Broadway, and on to traditional Hebrew melodies with a modern twist.

Learn to dance and sway with the music, and even learn to count to 13 in Hebrew. Minus 16 offers something for all:

The memorable “chair scene” in Minus 16 is set to “Ehad Mi Yodea,” a traditional Hebrew melody from the text used on Passover—the Haggadah—explaining in cumulative verse (think “The House That Jack Built”) several common Jewish motifs and teachings. This educational tool teaches important lessons to the children at the Passover table.
Among the bossa nova clips, you’ll hear Dean Martin’s rendition of “Sway” and “Recado Bossa Nova” and “Ole! Bossa Nova!” by Laurindo Amimeida & The Bossa Nova All-Stars.
Cha-cha to Don Swan & his Orchestra’s version of “Hooray for Hollywood” and “It Must Be True,” “Somewhere Over the Rainbow” and “Asia 2001” by The John Buzon Trio.

A Conversation with Choreographer Toru Shimazaki

Following a highly successful debut collaboration two years ago, Hubbard Street Dance Chicago has invited Japanese choreographer Toru Shimazaki to return to Chicago and create Fold, his second work for the company. His first work for HSDC, Bardo, set to music by the Australian group Dead Can Dance, premiered in fall 2006 and was enthusiastically received by audiences and critics alike. Expanding HSDC’s partnership with Shimazaki also furthers the company’s mission to maintain ongoing relationships with today’s most important contemporary choreographers.

Since his choreographic debut in 1992, Shimazaki has created works for Polish Dance Theatre, Grand Theatre de Geneve, Colorado Ballet, Japan’s National New Tokyo Theatre, The Royal Ballet of Flanders, Dance Forum Taiwan and other companies throughout the world. In July 2004, the American Dance Festival invited him to participate in its international choreographers commissioning program. He choreographed the musical Elisabeth, which has been running in Japan for three years. Shimazaki is a professor in the Music Department and head of the Dance Program at Kobe Jogakuin College. He also acts as Cirque de Soleil casting partner for Japan.

Shimazaki shared some early thoughts about his newest work for HSDC, still very much in the formative stages and subject to change before its October 2008 premiere.

What can you tell us about the new work at this early point? How many dancers do you expect to use? Have you selected the music?

My idea for this piece is to incorporate Japanese ideology and views of nature with respect to how it relates to humankind. The idea came to me as I listened to the lyrics of a song by René Aubry. It is in French and speaks of the wind as intentions and energies. In this new work, I wish to explore the relationships that exist in all aspects of the intentions found in the wind. Human relations are directly influenced by these energies, as we are driven forward through time.

The music thus far will be three or four pieces from Aubry’s album Plaisirs d'Amour. I am planning to create a work for two to four dancers.

This is your second work for HSDC. Will this piece be similar or different from Bardo and how?

Bardo was influenced by Buddhism; this new creation will have more of a poetic and romantic feel.

What is your general process for creating? Are you first inspired by music or do you have an idea for a work and then find music that goes well with it? Or both?

Every time I create, the process is different. This time I have begun the process with inspiration from the music.

Can you describe your first experience with the company when you created Bardo two years ago? What was your first reaction to the company dancers? Did things change along the way?

I had a great time during my first visit to Chicago, and my introduction to HSDC has been a turning point in my career. I found the dancers to be versatile and unafraid to explore new concepts, and their willingness to work extremely hard was an inspiration in itself. It is rare to find this combination of qualities amongst companies these days.

How does creating work with HSDC differ from working with other companies?

HSDC is an exceptional company, amongst the most important in the world of contemporary dance. The integrity of the company, the artistic direction and the focus of the dancers is absolutely top level.

I am enjoying my time with HSDC this fall.

HSDC Throws A Great Party!

Check out the fun times we’ve had this past year at our parties and special events!

2008 Spotlight Ball

Spotlight Ball Chair and HSDC board member Denise L. Stefan and John Ginascol on the “pink carpet” leading into the Harris Theater in April. Photo by Robert F. Carl.

Dr. Wanda Knight and Dr. Ricardo Knight on the dance floor at the Spotlight Ball. Photo by Joan Hackett.

Bold Moves for Bold Women

(L–R) Carmen Lonstein (Baker & McKenzie LLP), Event Co-Chair and HSDC board member Betsy Morgan (Baker & McKenzie LLP) and Kristen Freund (The Private Bank) at HSDC’s Bold Moves for Bold Women event in March, on opening night of the Spring Series 2008. Photo by Todd Rosenberg.

More “Bold Women” networking at the March event were Emily Knurek (Bryan Cave, LLP), Michelle Speller-Thurman (Winston & Strawn) and Merili Mosley (Bryan Cave, LLP). Photo by Todd Rosenberg.

An Evening with Pinchas Zukerman and Jim Vincent

HSDC Board Member Sondra Berman Epstein and HSDC Artistic Director Jim Vincent at an intimate dinner with Pinchas Zukerman, Music Director of Canada’s National Arts Centre Orchestra and HSDC Advisory Board Member. Photo by Robert F. Carl.

Pinchas Zukerman, music director of Canada’s National Arts Centre Orchestra and HSDC advisory board member, with Joan W. Harris, chairman of the board of directors of the Harris Theater for Music and Dance in Millennium Park. Photo by Robert F. Carl.

Twilight on the Rooftop

Nick Sarros (L), HSDC board member and Twilight on the Rooftop event chair Alyssa Rapp and Hal Morris enjoyed the wine and view from the rooftop of the East Bank Club. Photo by Robert F. Carl.

HSDC dancer Robyn Mineko Williams doubles as DJ at Twilight on the Rooftop. Photo by Robert F. Carl.

Micaela M. Klein and Stacey S. Cruise (Katten Muchin Rosenman LLP) taste the fine wines at Twilight on the Rooftop. Katten Muchin Rosenman was a sponsor of the event. Photo by Robert F. Carl.

Welcome New Dancers and Board Members

As we start the new season, HSDC is pleased to welcome two new dancers to the main company.

We also welcome the following individuals, who recently joined our board of directors.

Joe Bohne is currently president and chief operating officer at Advantage National Bank Group, a holding company for three community banks located in Elk Grove Village, Roselle and Bloomingdale, Illinois. Advantage National Bank Group is a part of Wintrust Financial Corporation. Joe, his wife Anne and their two children live in Indianhead Park.

Michael Gorshe is a partner in Accenture’s Consumer Goods and Services Practice. He and his wife Diana reside in the Chicago suburbs with two of their four children.

Jane Strauss comes with a background in restaurant and business management. She is an avid dance fan and studied dance throughout her childhood. She, her husband Michael and their children live in Highland Park.

HSDC also is pleased to announce its new board leadership: Dave Mekemson as board chair and Marc Miller as board president. The organization is grateful to Immediate Past Chair Karen Lennon for her leadership through two years of exceptional transition and the 30th anniversary season. Her energy and entrepreneurial spirit have set the institution on a path of growth for its next 30 years.

Board of Directors
Executive Committee
Dave Mekemson
Chair
Marc Miller
President
Julia Antonatos
Treasurer
Camille Rudge
Assistant Treasurer
Ellis Regenbogen
Secretary
Karen Lennon
Immediate Past Chair
Meg Siegler Callahan
Vice President, Development
Denise Stefan
Ass’t Vice President, Development
Carolyn Clift
Vice President, Membership
Patrick Schieble
Vice President, Education & Community Programs
Earl E. Webb
Vice President, Facilities

Marge Collens+
Stephanie Hickman
Linda Hutson
Betsy Stelle Morgan
Maureen Mosh
James F. Oates+
Byron Pollock++
Deborah Stonebraker
J. Randall White+
Members at Large

Directors
Sara Albrecht
Aurora Abella Austriaco
Joseph W. Bohne
Corinne E. Brophy
Stephen Cerrone
Edie Cloonan++
Joel Cory
Allan Drebin
Sondra Berman Epstein+
Sharon M. Flanagan
Paul Gignilliat
Michael A. Gorshe
Judith L. Grubner
Joni S. Jacobsen
Rachel Corn Kluge
Anne Leyden
Marie A. Lona
Todd E. Magazine
Dina Norris
Sheila Owens
Alyssa Rapp
Mary Kay Shaw
Jane Strauss
Richard F. Tomlinson II
Kimberly A. White

Advisory Board
Sandra P. Guthman+
Chair
John W. Ballantine+
Dirk Denison
Marsha and Philip Dowd
Stanley M. Freehling
Charles R. Gardner
William L. Gunlicks+
Averill Leviton
Larry Long
James W. Mabie++
Alfred L. McDougal++
Marie E. O'Connor++
Timothy Schwertfeger++
Jack D. Tovin
Richard B. Turner
Sallyan Windt
William N. Wood Prince+
Pinchas Zukerman

+ Past Board Chair
++ Past Board President