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Monday, December 21, 2009
Chinese New Year Celbrations
Wednesday, December 16, 2009
Nai-Ni Chen Dance Company at APAP
2010 APAP Showcases
Nai-Ni Chen Dance Company
DATE: January 9 & 10, 2010
TIME: 6:00-7:00 PM
LOCATION: NY City Center Studio #4
Entrance to Studios is at 130 West 56th Street. Between 6th and 7th Avenues
Entrance to Studios is at 130 West 56th Street. Between 6th and 7th Avenues
MORE: No reservations required
Visit us at Booth #820 in Americas Hall II
MANAGEMENT: Joanne Rile Artists Management
Booth #710 in Americas Hall II
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Visit us at Booth #820 in Americas Hall II
MANAGEMENT: Joanne Rile Artists Management
Booth #710 in Americas Hall II
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Gliding across the stage with color, lyricism and a subtle whisper of Chinese tradition, "Song of the Phoenix" features the original choreography of Nai-Ni Chen. Experience the majestic thunder of the Martial Arts and the mysterious whisper of poetry through the global language of dance. Nai-Ni Chen's innovative dances bring together the dynamic freedom of American modern dance and the splendor of Asian culture.
Click here for sample videoFriday, December 11, 2009
Another Review of Nai-Ni's "Three Riddles of Turandot" performed by NJ Ballet
NJ Ballet Goes International in Mayo Center Appearance
By SHEILA ABRAMS
Dance Critic
Published: Dec 9th, 9:53 PM
Looking very sharp and up-to-date, New Jersey Ballet took a mini-world tour during a Nov. 7 appearance at the Community Theatre of the Mayo Center for the Performing Arts in Morristown. This was the first of an annual three performance series the company offers at the theater, and it had something for everyone.
The centerpiece of the program, which was billed as “A World Tour of Dance,” was the world premiere of “The Three Riddles of Turandot,” a ballet created for the company by choreographer Nai-Ni Chen, who directs her own New Jersey-based modern dance troupe. Chen, who is from China, took both her inspiration and her musical accompaniment from Puccini’s opera, so you might say that, in that selection, New Jersey Ballet was hitting both China and Italy on its world tour.
Perhaps in the spirit of European grand opera, Chen chose to put the women on pointe. The movement language was largely neoclassical, but reflected the choreographer’s background in traditional Chinese dance and in modern movement as well.
In works for her own company, Chen has always used props like ribbons, flags and even bamboo rods to extend the lines and motions of her dancers. She did that to great effect in “Turandot,” with swaths of white gauze stretched across the stage by white-clad dancers, red silk flags manipulated by dancers in red silk, and banners with Chinese characters descended from the ceiling. These last apparently represented the three challenges the Princess Turandot presents to her would-be suitors.
Kerry Mara Cox projected a cold and powerful presence as the vengeful princess, and Andre Luis Teixeira, as the man who meets her challenge, handled Chen’s choreography adeptly, as did the others in the large cast. A nod should go to Karen Young for her beautiful costumes.
Click here for rest of article
By SHEILA ABRAMS
Dance Critic
Published: Dec 9th, 9:53 PM
Looking very sharp and up-to-date, New Jersey Ballet took a mini-world tour during a Nov. 7 appearance at the Community Theatre of the Mayo Center for the Performing Arts in Morristown. This was the first of an annual three performance series the company offers at the theater, and it had something for everyone.
The centerpiece of the program, which was billed as “A World Tour of Dance,” was the world premiere of “The Three Riddles of Turandot,” a ballet created for the company by choreographer Nai-Ni Chen, who directs her own New Jersey-based modern dance troupe. Chen, who is from China, took both her inspiration and her musical accompaniment from Puccini’s opera, so you might say that, in that selection, New Jersey Ballet was hitting both China and Italy on its world tour.
Perhaps in the spirit of European grand opera, Chen chose to put the women on pointe. The movement language was largely neoclassical, but reflected the choreographer’s background in traditional Chinese dance and in modern movement as well.
In works for her own company, Chen has always used props like ribbons, flags and even bamboo rods to extend the lines and motions of her dancers. She did that to great effect in “Turandot,” with swaths of white gauze stretched across the stage by white-clad dancers, red silk flags manipulated by dancers in red silk, and banners with Chinese characters descended from the ceiling. These last apparently represented the three challenges the Princess Turandot presents to her would-be suitors.
Kerry Mara Cox projected a cold and powerful presence as the vengeful princess, and Andre Luis Teixeira, as the man who meets her challenge, handled Chen’s choreography adeptly, as did the others in the large cast. A nod should go to Karen Young for her beautiful costumes.
Click here for rest of article
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