NYC-ARTS

S2021 E506 | FULL EPISODE

NYC-ARTS Full Episode: January 14, 2021

A visit to Fotografiska New York, the new photography museum in the Flatiron District, and a profile of Ballet Hispánico, the nation’s premier organization representing Latino dance, which recently celebrated its 50th anniversary.

AIRED: January 14, 2021 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> PHILIPPE DE MONTEBELLO:

COMING UP ON NYC-ARTS A VISIT

TO FOTOGRAFISKA NEW YORK, THE

NEW PHOTOGRAPHY MUSEUM IN THE

FLATIRON DISTRICT ..

WE WANT TO EMPHASIZE DIFFERENT

TYPES OF PHOTOGRAPHS.

STREET PHOTOGRAPH RI MIXED WITH

FASHION PHOTOGRAPHS MIXED WITH

LANDSCAPE.

FINE ART WORK.

REALLY HAVE SOMETHING FOR

EVERYONE.

AND A PROFILE OF BALLET

HISPANICO, THE NATION'S PREMIER

ORGANIZATION REPRESENTING LATINO

DANCE WHICH CONTINUES TO INSPIRE

PEOPLE OF ALL AGES AND

BACKGROUNDS.

>> BRING TOGETHER INDIVIDUALS

AND COMMUNITY TO CELEBRATE,

SHARE, EXPLORE WITH JOY THE

HERITAGE OF LATINO CULTURE.

FUNDING FOR NYC-ARTS IS MADE

POSSIBLE BY THEA PETSCHEK

IERVOLINO FOUNDATION THE LEWIS

“SONNY ” TURNER FUND FOR DANCE

JODY AND JOHN ARNHOLD ROSALIND

P. WALTER ELISE JAFFE AND

JEFFREY BROWN CHARLES AND

VALERIE DIKER THE NANCY

SIDEWATER FOUNDATION ELROY AND

TERRY KRUMHOLZ FOUNDATION THE

MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELLEN AND JAMES

S. MARCUS THIS PROGRAM IS

SUPPORTED, IN PART, BY PUBLIC

FUNDS FROM THE NEW YORK CITY

DEPARTMENT OF CULTURAL AFFAIRS

IN PARTNERSHIP WITH THE CITY

COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

NYC-ARTS IS MADE POSSIBLE IN

FIRST BANK FIRST.

AT FIRST REPUBLIC BANK, FIRST

REFERS TO THE FIRST PRIORITY.

THE CLIENTS.

THE FIRST STEP, RECOGNIZE THAT

EVERY CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

SERVICE.

IN THE FORM OF PERSONAL BANKING.

IT'S STILL THE FIRST THING ON

OUR MINDS.

AND BY SWAN ACTION GALLERIES.

SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

A FIRST TIME BUYER OR LOOKING TO

SELL.

PHILIPPE DE MONTEBELLO: GOOD

EVENING AND WELCOME TO NYC-ARTS.

I'M PHILIPPE DE MONTEBELLO ON

LOCATION AT THE METROPOLITAN

MUSEUM OF ART.

I'M IN THE GRAND SPACE

CONTAINING THE TREASURE THAT IS

THE TEMPLE OF DENDUR.

IT WAS BUILT AROUND 15 B.C. WHEN

THE ROMAN EMPEROR AUGUSTUS RULED

EGYPT.

IN 1965 THE TEMPLE AND ITS

GATEWAY WERE GIFTED BY EGYPT TO

THE UNITED STATES, AWARDED TO

THE MET TWO YEARS LATER, AND

INSTALLED HERE IN 1978.

TRANSPORT TO THE MET AND

INSTALLATION WAS DONE WITH THE

GREATEST OF CARE. THE SETTING

WAS DESIGNED TO APPROXIMATE THE

LIGHT AND SURROUNDINGS OF ITS

ORIGINAL LOCATION IN NUBIA,

INCLUDING A REFLECTING POOL THAT

EVOKES THE NILE.

TODAY IT IS ONE OF THE ICONIC

AND MOST BELOVED WORKS OF ART AT

THE MET.

A HIGHLIGHT OF THE MET'S 150TH

ANNIVERSARY YEAR IN 2020 WAS THE

REOPENING OF ITS NEWLY INSTALLED

BRITISH GALLERIES.

THROUGH NEARLY 700 WORKS CREATED

BETWEEN 1500 AND 1900, THE SUITE

OF 10 GALLERIES OFFERS A FRESH

PERSPECTIVE ON BRITAIN'S

ENTREPRENEURIAL SPIRIT AND ITS

COMPLEX HISTORY.

VISITORS ARE REMINDED THROUGHOUT

THAT THE HISTORY OF BRITISH ART

IS FAR FROM AN ISOLATED ONE.

FOR CENTURIES LONDON'S

FLOURISHING ECONOMY ENCOURAGED

THE TRADING OF FOREIGN LUXURY

GOODS AND ATTRACTED COUNTLESS

ARTISTS AND CRAFTSMEN FROM

ABROAD, MAY OF WHOM ARE

REPRESENTED HERE.

A 17TH CENTURY STAIRCASE WITH

EXQUISITE CARVINGS WAS BROUGHT

TO THE MET IN THE 1930'S FROM

CASSIOBURY HOUSE, A NOW-LOST

TUDOR MANOR.

IT HAS SINCE BEEN METICULOUSLY

CONSERVED AND REINSTALLED IN THE

NEW GALLERIES.

AT THE HEART OF THIS EXHIBITION

ARE THREE MAGNIFICENT 18TH

CENTURY ROOMS. FROM KIRLINGTON

PARK, CROOME COURT, AND

LANDSDOWN HOUSE THEY HAVE BEEN

TRANSFORMED BY NEW LIGHTING AND

PAINSTAKING CONSERVATION.

EVERY OBJECT ON DISPLAY IS NOT

ONLY AN OUTSTANDING WORK OF ART,

BUT AN EMBODIMENT OF A COMPLEX

MOMENT IN HISTORY.

A BEAUTIFUL ENGLISH TEAPOT, FOR

EXAMPLE, SPEAKS TO BOTH THE

PROSPEROUS COMMERCIAL ECONOMY

AND THE EXPLOITATIVE HISTORY OF

THE TEA TRADE.

ON VIEW ARE FOUR CENTURIES OF

EXTRAORDINARY ARTISTIC

ACHIEVEMENT, ALONG WITH THE

REALITIES OF COLONIAL RULE.

SOME OF THESE OBJECTS MAY TODAY

SPEAK TO US WITH ELOQUENCE.

NOW A VISIT TO FOTOGRAFISKA NEW

YORK, A NEW PHOTOGRAPHY MUSEUM

IN THE FLATIRON DISTRICT.

LOCATED IN THE LANDMARKED CHURCH

MISSION BUILDING, THE MUSEUM IS

THE NEWEST GLOBAL OUTPOST FROM

THE STOCKHOLM-BASED DESTINATION

FOR PHOTOGRAPHY.

THE BUILDING WAS RENOVATED BY

ARCHITECTURE AND INTERIOR DESIGN

FIRM CETRARUDDY TO PROVIDE A MIX

OF COMMERCIAL, GALLERY AND EVENT

SPACE.

THE FIRM RECENTLY WON A LUCY G.

MOSES PRESERVATION AWARD FROM

THE NEW YORK LANDMARKS

CONSERVANCY FOR ITS WORK ON THIS

HISTORIC BUILDING.

AFTER THE MANY CLOSURES LAST

SPRING DUE TO THE PANDEMIC, THE

MUSEUM RE-OPENED IN AUGUST-

EAGER TO BRING ITS WORLD-CLASS

PHOTOGRAPHY EXHIBITIONS BACK TO

THE PUBLIC.

THE MUSEUM HAS PRESENTED A WIDE

RANGE OF PHOTOGRAPHERS AND

SUBJECTS: FROM TAWNY CHATMON'S

GILDED PORTRAITS OF

AFRICAN-AMERICAN WOMEN, TO THE

PROVOCATIVE RECREATIONS OF

BIBLICAL SCENES BY ADI NES; FROM

THE FASHION PHOTOGRAPHY OF ELLEN

VON UNWERTH, TO THE

PHOTOJOURNALISM OF ANASTASIA

TAYLOR-LIND, AMONG MANY OTHERS.

NYC-ARTS VISITED THE MUSEUM TO

DISCUSS THE BUILDING'S UNIQUE

ARCHITECTURAL PAST, AS WELL AS

ITS FUTURE.

AMANDA HAJJAR, DIRECTOR OF

EXHIBITIONS FOTOGRAFISKA WAS

FOUNDED IN 2010 IN STOCKHOLM BY

TWO BROTHERS..

THEY'VE HAD OVER 250 EXHIBITIONS

AT THIS POINT. IN JUNE OF 2010,

THEY OPENED THE SECOND LOCATION,

WHICH IS ACTUALLY IN TALLINN,

ESTONIA, ND IN DECEMBER OF 2019

NEW YORK OPENED.

NANCY RUDDY, FOUNDING PARTNER

CETRARUDDY: FOTOGRAFISKA

OCCUPIES A NYC LANDMARK THAT WAS

BUILT IN 1894 AS THE MISSION

HOUSE FOR THE EPISCOPALIAN

CHURCH THAT IS DOWN THE STREET.

IT WAS AN UNDERUTILIZED NEW YORK

CITY LANDMARK. AND ONE OF THE

REALLY EXCITING CHALLENGES OF

THE PROJECT WAS TO TAKE THIS

BEAUTIFUL BUILDING THAT WAS 126

YEARS OLD AND GIVE IT NEW LIFE

AND GIVE IT LONGEVITY FOR THE

NEXT TWO OR 300 YEARS THE

ARCHITECTURE IS KNOWN AS NEO

FLEMISH, AND IT REFERS BACK TO

THE BEAUTIFUL GUILD HALLS AND

TOWN HALLS OF NORTHERN EUROPE

THAT WERE BUILT IN THE 15TH AND

16TH CENTURIES. THE BUILDING HAS

AN AMAZING LIMESTONE AND GRANITE

FACADE THAT IS PUNCTUATED BY

LARGE ARCHED WINDOWS. IN THE

RESTORATION, WHEN WE UNEARTHED

ALL OF THIS BEAUTIFUL SCULPTURE,

WE ALSO PUT VERY DISCRETE

LIGHTING ON THE OUTSIDE OF THE

BUILDING SO THAT YOU COULD SEE

SIX FLOORS UP THE AMAZING

ORIGINAL DETAILING THAT NO ONE

KNEW WAS THERE FOR OVER 100

YEARS.

AMANDA HAJJAR: AS PEOPLE MOVE

THROUGH THE SPACE, WHAT WE

REALLY WANTED TO EMPHASIZE IS

DIFFERENT TYPES OF PHOTOGRAPHY:

STREET PHOTOGRAPHY MIXED WITH

FASHION PHOTOGRAPHY MIXED WITH

LANDSCAPE, FINE ART, CONCEPTUAL

WORK, REALLY HAVE SOMETHING FOR

EVERYONE.

ONE OF THE THINGS THAT

FOTOGRAFISKA IN STOCKHOLM HAS

BEEN SO SUCCESSFUL WITH IS

EXHIBITION DESIGN. WE'VE DECIDED

TO ALSO TAKE ADVANTAGE OF HAVING

THIS BUILDING AND BLOCKING OUT

NATURAL LIGHT TO ACTUALLY USE

THAT, TO ELEVATE THE WORK. SO WE

USE A LOT OF WALLPAPERS, COLORS,

FONTS, TO FURTHER EXPLAIN WHAT

THESE PHOTOGRAPHS OR WHAT THIS

EXHIBITION IS ABOUT.

ELLEN VON UNWERTH IS MOST WIDELY

KNOWN FOR HER FASHION

PHOTOGRAPHY. SHE AND NADINE

BARTH, THE CURATOR THAT WORKED

ON THAT EXHIBITION, CREATED

THESE SEVEN DIFFERENT SORT OF

THEMES WITHIN THE EXHIBITION.

THEY EACH HAD THEIR DIFFERENT

COLORS. WE USED THE COVERS THAT

SHE HAD SHOT OVER HER CAREER OF

30 PLUS YEARS, AND MADE THOSE

INTO WALLPAPERS. IT WAS A REALLY

FUN AND DYNAMIC WAY, I THINK, OF

SHOWING PHOTOGRAPHY AND IT SORT

OF STEERS US AWAY FROM THAT

WHITE CUBE MODEL THAT'S SO

TRADITIONAL.

THE ARTISTS COOPER AND GORFER

ACTUALLY DID THESE EXTENSIVE

INTERVIEWS AND PORTRAITS OF

MIGRANT WOMEN WHO HAD TO LEAVE

THEIR HOME COUNTRIES FOR VARIOUS

REASONS, USUALLY DUE TO SOME

SORT OF CONFLICT OR VIOLENCE

HAPPENING, AND ENDED UP LIVING

IN SWEDEN. COOPER AND GORFER

ACTUALLY DESIGNED THE WALLPAPERS

AND WE HANG THE PHOTOGRAPHS ON

TOP OF THEM. AND SARAH AND NINA

REALLY WANTED PEOPLE TO WALK

INTO THAT SPACE AND FEEL

ENCOMPASSED BY THESE INTRICATE

SETS THAT THEY HAD CREATED AND

THESE PORTRAITS THAT THEY

PHOTOGRAPHED.

MARTIN SCHOELLER IS WORKING WITH

A NONPROFIT CALLED WITNESS TO

INNOCENCE. AND WHAT HE DECIDED

TO DO WAS, IN HIS SORT OF

QUINTESSENTIAL STYLE, TAKE THESE

UP-CLOSE PORTRAITS OF DEATH ROW

EXONEREES. BUT ACTUALLY HE

FILMED THE SITTERS, THEY'RE

SLIGHTLY MOVING AND IT'S A VIDEO

INSTALLATION. HE DECIDED TO ALSO

RECORD THEIR STORIES. SO YOU'RE

HEARING FROM THEIR OWN WORDS,

WHAT IT WAS LIKE TO BE ARRESTED,

GO ON TRIAL, BE CONVICTED AND,

AND LIVE ON DEATH ROW FOR CRIMES

THAT THEY DID NOT COMMIT. AND I

SAY REAL LOUD, I DON'T WANT TO

DIE . . .

AS YOU MOVE THROUGH THE

EXHIBITION, WHAT WE ACTUALLY

DECIDED TO DO WAS CREATE THIS

SENSE OF TIGHT SORT OF INTIMACY

GETTING, EVEN CLOSER AND CLOSER,

YOU KNOW, TO ALMOST WHAT A DEATH

ROW CELL LOOKS LIKE SO THAT

PEOPLE REALLY GET A SENSE OF

WHAT THEIR LIVES WERE LIKE WHILE

THEY WERE INCARCERATED.

WE HAVE SOME LOCAL EXHIBITIONS

THAT DON'T TOUR TO THE OTHER

LOCATIONS, SPECIFIC ARTISTS THAT

ARE DEALING WITH VERY RELEVANT

ISSUES TO NEW YORK OR TO

AMERICA. LARRY FINK IS ONE OF

THE MOST FAMOUS PHOTOGRAPHERS OF

HIS GENERATION, MAINLY IN STREET

PHOTOGRAPHY. LARRY FINK

ACTUALLY CONTACTED US AND SAID,

I REALLY LOVE YOUR, THE PROGRAM

THAT YOU'RE DOING CALLED

PHOTOGRAPHERS ON THE FRONT

LINES. AND THIS WAS WHEN WE

REALLY HANDED OVER OUR PLATFORMS

TO PHOTOGRAPHERS THAT WERE

PHOTOGRAPHING THE BLACK LIVES

MATTER MOVEMENT. AND HE SAID,

YOU KNOW, THIS IS REALLY WHAT I

WAS DOING THROUGHOUT MY CAREER.

I WOULD LOVE TO GET INVOLVED.

LET'S DO SOMETHING ON THE

PROTEST PHOTOGRAPHY THAT I TOOK

IN THE SIXTIES. SO WHAT YOU'RE

SEEING HERE IS A LOT OF WORK

FROM HARLEM AND WASHINGTON DC

WITH VARIOUS STUDENT PROTESTS.

SO YOUTH PROTESTS, THE MARCH ON

WASHINGTON. THAT'S ONE OF THE

STRENGTHS OF FOTOGRAFISKA IS

THAT WE CAN RESPOND PRETTY

QUICKLY TO RELEVANT ISSUES AND

STAY VERY CURRENT.

NAIMA GREEN IS ANOTHER GOOD

EXAMPLE. SHE'S A BROOKLYN BASED

ARTIST AND ALL OF HER EX ALL OF

HER PHOTOGRAPHS ARE OF THE LGBTQ

COMMUNITY, MOSTLY PEOPLE OF

COLOR. MORE OF A CELEBRATION,

THESE VERY SORT OF INTIMATE AND

CAREFULLY CRAFTED PHOTOGRAPHS.

OUR WHOLE CONCEPT IS REALLY

CATERING TO THE NEW WAY THAT WE

FEEL THAT PEOPLE WANT TO VISIT

MUSEUMS, WHERE IT'S A LITTLE BIT

MORE EXPERIENTIAL, A LITTLE BIT

MORE INTERACTIVE. ON THE SIXTH

FLOOR, WE DO A LOT OF EVENTS AND

PROGRAMMING ; ARTISTS TALKS,

COSTUME PARTIES, WE'VE DONE

PERFORMANCE PIECES, CONCERTS,

KIND OF PULLING FROM ALL THESE

DIFFERENT AREAS, MAKE IT A

LAYERED EXPERIENCE.

DURING THE PANDEMIC, WE DID

TRANSITION A LOT OF OUR

PROGRAMMING ONLINE, A LOT OF

LIVE STREAMING EVENTS. OUR

FAMILY PROGRAMMING THAT USED TO

TAKE PLACE INSIDE THE BUILDING,

WE'VE MOVED IT OUTSIDE WHEN WE

CAN. THIS IS REALLY GOING TO

CHANGE THE WAY PEOPLE EXPERIENCE

A MUSEUM OR EXPERIENCE

FOTOGRAFISKA SPECIFICALLY.

AMANDA HAJJAR: I THINK WHAT'S

REALLY IMPORTANT TO FOTOGRAFISKA

IS BEING RELEVANT AND RESPONDING

QUICKLY TO WHAT'S GOING ON IN

THE WORLD. WE REALLY WANT PEOPLE

TO COME TO FOTOGRAFISKA AND, SEE

THAT SOCIAL RELEVANCE IN THE

ARTWORK THAT'S ON DISPLAY.

PDM: FOR MORE INFORMATION ON

CULTURAL EVENTS IN OUR AREA,

PLEASE SIGN UP FOR OUR FREE

WEEKLY EMAIL AT “NYC-ARTS.

ORG/E-MAIL. ” TOP FIVE PICKS

WILL KEEP YOU UP TO DATE ALL

YEAR ROUND. AND BE SURE TO

CONNECT WITH NYC-ARTS ON

FACEBOOK, INSTAGRAM AND TWITTER.

PHILIPPE DE MONTEBELLO: NEXT ON

OUR PROGRAM WE'LL GO BEHIND THE

SCENES WITH AMERICA'S PREMIERE

ORGANIZATION REPRESENTING LATINO

DANCE: BALLET HISPANICO.

RECENTLY THE FORD FOUNDATION

NAMED THE COMPANY ONE OF

AMERICA'S CULTURAL TREASURES.

FOUNDED IN 1970 BY TINA RAMIREZ,

BALLET HISP ÁNICO BRINGS

COMMUNITIES TOGETHER TO

CELEBRATE HISPANIC CULTURES. ITS

REPERTORY DRAWS FROM MANY

TRADITIONS AND MANY COUNTRIES -

FROM CLASSICAL BALLET TO SPANISH

FLAMENCO, LATIN SOCIAL DANCES TO

AFRO-CUBAN RHYTHMS.

THE PANDEMIC FORCED THE COMPANY

TO CANCEL ITS 50TH ANNIVERSARY

SEASON LAST APRIL. IN JUNE

BALLET HISP ÁNICO PRESENTED A

VIRTUAL CELEBRATION WITH WORLD

PREMIERE PERFORMANCES, NEW WORKS

CREATED REMOTELY, AND

APPEARANCES BY SUCH TALENTS AS

LIN-MANUEL MIRANDA, RITA MORENO

AND GLORIA ESTEFAN. MORE

RECENTLY, THE COMPANY WAS BACK

ON THE NEW YORK CITY CENTER

STAGE FOR THE FIRST-EVER DIGITAL

FALL FOR DANCE FESTIVAL.

TODAY -- THROUGH INNOVATIVE NEW

APPROACHES TO BRINGING DANCE TO

THE COMMUNITY -- BALLET

HISP ÁNICO CONTINUES TO INSPIRE

PEOPLE OF ALL AGES AND

BACKGROUNDS.

EDUARDO VILARO: BALLET

HISP ÁNICO'S MISSION IS TO BRING

TOGETHER INDIVIDUALS AND

COMMUNITIES, TO CELEBRATE,

SHARE, EXPLORE THE JOYS, THE

HERITAGE OF LATINO CULTURES. AND

SO IN THAT MISSION THE VISION IS

ABOUT OPENING UP THIS DIALOGUE

FOR EVERYONE TO EXPLORE WHAT IT

IS TO BE LATINO TODAY.

EDUARDO VILARO: I'VE BEEN

ASSOCIATED WITH THE ORGANIZATION

SINCE 1985. FIRST AS A DANCER

AND THEN AS THE ARTISTIC

DIRECTOR. BALLET HISP ÁNICO HAS

BEEN AROUND SINCE 1970, WHEN

TINA RAMIREZ, OUR FOUNDER,

WANTED TO GIVE VOICE TO THE

LATINO ARTIST. AND SHE BEGAN

WITH A HANDFUL OF YOUNG LADIES

WHO WANTED TO LEARN HOW TO DANCE

PROFESSIONALLY.

MICHELLE MANZANALES: THE BALLET

HISP ÁNICO SCHOOL OF DANCE HAS

BEEN AROUND FOR ALMOST 50 YEARS.

IT'S ABOUT GIVING ACCESS TO THE

ARTFORM FOR ANYONE. STUDENTS CAN

COME AND STUDY ALL DIFFERENT

GENRES, WHETHER IT BE BALLET,

FLAMENCO, HIP HOP. WE HAVE THESE

TRADITIONAL DANCE FORMS THAT WE

CELEBRATE: CLASSICAL SPANISH

DANCE, FLAMENCO, BUT THEN ALSO

FUSION. WE'RE HONORING HISTORY,

BUT WE'RE ALSO TAKING IT TO THE

FUTURE.

EDUARDO VILARO: I CONSIDER

BALLET HISP ÁNICO A CONTEMPORARY

LATINO DANCE COMPANY, WHICH

MEANS WE ARE LOOKING AT THE

CULTURE IN A CONTEMPORARY WAY.

AND THE DANCERS ARE HIGHLY

TRAINED IN CLASSICAL DANCE,

BECAUSE THAT'S OUR HERITAGE.

MELISSA FERNANDEZ: I TRAINED

STRICTLY IN CLASSICAL BALLET IN

THE CUBAN TRADITION FROM FIVE

YEARS OLD TO ABOUT 15. I WENT TO

AN ARTS HIGH SCHOOL, NEW WORLD

SCHOOL OF THE ARTS IN MIAMI,

WHICH OFFERED NOT ONLY A STRONG

BASE IN CLASSICAL BALLET, BUT

ALSO THE CLASSICAL MODERN FORMS

LIKE GRAHAM, LIMON, TAYLOR,

CUNNINGHAM.

MELISSA FERNANDEZ: I THINK

SOMETHING THAT REALLY HELPED ME

PREPARE FOR THIS ROLE THAT I'M

NOW IN BALLET HISP ÁNICO WAS THE

IDEA THAT I COULDN'T JUST BOX

MYSELF IN INTO ONE CATEGORY. I

WASN'T JUST A BALLET DANCER. I

WASN'T JUST A MODERN DANCER.

MICHELLE MANZANALES: OUR DANCERS

AT BALLET HISP ÁNICO, BECAUSE

THEY WORK WITH SO MANY DIFFERENT

CHOREOGRAPHERS, WE WANT THEM TO

BE THAT BLANK SLATE THAT IS

WILLING TO TAKE THE RISK TO GO

INTO THESE DIFFERENT ROLES, TO

THESE DIFFERENT STYLES OF DANCE,

IT'S LIKE BEING A CHAMELEON,

THEY HAVE TO BE ABLE TO

TRANSFORM THEMSELVES.

>>

MELISSA FERNANDEZ : OBVIOUSLY

WE'RE ALWAYS GONNA STAY TRUE TO

OUR LATIN ROOTS, SO THERE WILL

BE MANY, MANY PIECES THAT YOU

SEE WERE THERE'S AN INFLUENCE OF

SALSA, OR RUMBA, OR MAMBO, CHA

CHA CHA. AND THEN WE HAVE

CONTEMPORARY MODERN. AND I THINK

THAT'S WHAT BALLET HISP ÁNICO

REPRESENTS, A FUSION OF CULTURES

AND STYLES.

>> I DON'T BELONG HERE.

EDUARDO VILARO: DANZ ÓN IS A

CONTEMPORARY BALLET THAT WAS

CREATED IN COLLABORATION WITH

PAQUITO D'RIVERA. I FOUND IT SO

RIVETING, THE FUSION OF JAZZ

WITH STRINGS. OF COURSE WE ADDED

A LOT OF MORE LATIN RHYTHMS,

WHEN WE PUT IT TOGETHER. AND

DANZ ÓN ITSELF IS A FUSION OF

AFRICAN AND SPANISH, AND ALSO

MANY DIFFERENT FORMS OF MUSIC IN

CUBA.

>>

EDUARDO VILARO: A LOT OF THE

CHALLENGES OF BRINGING IN A NEW

DANCER TO WORK LIKE THIS IS

STYLE. SO EACH CHOREOGRAPHER HAS

THEIR OWN STYLE IN THEIR GENRE.

AND FOR ME YOU KNOW TO GET A

DANCER TO BE VERY TECHNICAL AND

AT THE SAME TIME GROUNDED IN

AFRO-CUBAN MOVEMENT IS A

CHALLENGE.

>>

EDUARDO VILARO: SOMETIMES IT'S

EASY TO COACH THE TECHNICAL

ASPECTS. THE ARTISTRY, THE

INTENTION, THAT'S SOMETHING ELSE

EDUARD VILARO: AND IT IS A

WONDERFUL PROCESS, BECAUSE IT'S

THERE THAT THAT THE ARTIST

LEARNS A LOT OF THEMSELVES AND

THEN REFLECTS IT BACK. AND THAT

REFLECTION IS IN THE PERFORMANCE

AND IT'S BEAUTIFUL.

SPIRAL YOUR BACK. YES. THAT'S

IT. BAM, GOOD. THIS WAS LOVELY.

>>

JOHAN RIVERA: NONE OF THE

DANCERS ARE ACTUALLY ALIKE WHEN

IT COMES TO PERSONALITY, LIKE

CHARISMA, QUALITY OF MOVEMENT.

SO I NEED TO WORK AROUND THE 360

VIEW OF LIKE HOW THIS DANCER CAN

USE THE MATERIAL AND NOW MAKE IT

HIS OWN, AS A DANCER MYSELF,

IT'S LIKE I SAID SOMETHING WHEN

I WAS DOING THE SOLO. NOW I WANT

THAT PERSON TO HAVE THE

OPPORTUNITY AND THE SPACE TO

FIND THEIR OWN MESSAGE TO SHARE.

>> THINK

ABOUT THE PROGRESSION OF LIKE

GOING DOWN AS LIKE DESCENDING

FROM THE MATERIAL.

NICK FEARON: I WASN'T TOO

FAMILIAR WITH THE LATIN STYLES

OF DANCE COMING INTO BALLET

HISP ÁNICO, BUT IT WAS SOMETHING

THAT EVERYONE ELSE WAS VERY

FAMILIAR WITH SO THEY TAUGHT ME

VERY QUICKLY.

THE CULTURE IS DEFINITELY A BIG

ASPECT TO BALLET HISP ÁNICO IN

GENERAL. CAUSE I'M NOT LATINO

MYSELF, I'M IRISH AND POLISH,

SO, IT'S NOT ONLY ABOUT

EMBRACING THE LATIN CULTURE BUT

IT'S ABOUT BRINGING YOUR OWN

CULTURE IN AND EMBRACING THAT AS

WELL.

>>

MICHELLE MANZANALES: AN EXCITING

PART OF BEING A DANCER FOR

BALLET HISP ÁNICO IS GETTING THE

OPPORTUNITY TO EXPLORE THESE

DIFFERENT VOICES. AND IF YOU

LOOK AT OUR DANCERS THEY'RE SO

DIVERSE, AND THAT DIVERSITY,

COUPLED WITH THE CHOREOGRAPHER'S

VOICE, COUPLED WITH BALLET

HISP ÁNICO'S MISSION ALTOGETHER,

THAT'S WHAT MAKES IT SO RICH.

>>

EDUARDO VILARO: EVERY

CHOREOGRAPHER THAT COMES TO

BALLET HISP ÁNICO TO MAKE A PIECE

GETS THAT CONVERSATION WITH ME

ABOUT CULTURE. AND THEY DIVERT

DIFFERENTLY. WE'VE RUN THE RANGE

FROM MY WORK THAT IS FULL OF

LATINO CARIBBEAN MOVEMENT, TO

RON K. BROWN, THAT IS MUCH MORE

AFROCENTRIC, TO TANIA

P ÉREZ-SALAS, WHICH IS VERY

ABSTRACT, AND TO ANNABELLE LOPEZ

OCHOA, WHO GREW UP IN BELGIUM

WITH A PARENT WHO'S FROM

COLOMBIA. SO IT'S VERY RICH FOR

US BECAUSE IT REALLY SHOWS US

THAT THE DEPTH OF HOW CULTURE

AFFECTS EACH ARTIST. LIKE

MICHELLE'S PIECE “CON BRAZOS

ABIERTOS ” IS A PERFECT EXAMPLE.

>>

MICHELLE MANZANALES: “CON BRAZOS

ABIERTOS ” IS REALLY JUST--WAS A

DREAM COME TRUE FOR ME. THE WORK

IS REALLY ABOUT TELLING THE

STORY OF WHAT IT IS LIKE TO LIVE

BETWEEN TWO CULTURES. FOR ME AS

A MEXICAN-AMERICAN PERSON

GROWING UP IN TEXAS, IT ALLOWED

FOR ME TO SORT OF REFLECT ON

THAT AND THEN BRING THIS PIECE

TO LIFE FROM THOSE EXPERIENCES.

THE MUSIC RANGES, IT'S VERY

ECLECTIC WHICH IS HOW I FEEL.

I'M NOT ONE THING, I'M NOT JUST

MARIACHI MUSIC AND I'M NOT JUST

POP MUSIC OF THE 80S, I'M

SOMEWHERE IN BETWEEN. THE

SOMBRERO WAS A FUN THING TO

EXPLORE, THE SORT OF CULTURAL

STEREOTYPES BUT THEN ALSO

DECONSTRUCTING IT, MANIPULATING

IT, AND USING THE HAT AS A

SYMBOL.

>>

MELISSA FERNANDEZ: SHE USES HER

EARLY STAGES OF VULNERABILITY AS

A YOUNG DANCER, AS A YOUNG

CHOREOGRAPHER, AND THEN SLOWLY

IT EVOLVES TO SHOW HOW HER

INSECURITIES BLOOM INTO

ACCEPTANCE AND ADMIRATION FOR

HER CULTURE.

>>

MELISSA FERNANDEZ: WE'RE NOT

ONLY DANCERS. WE'RE ARTISTS, BUT

WE'RE ALSO TEACHING ARTISTS. ONE

OF THE GREAT MISSIONS OF BALLET

HISP ÁNICO IS TO GO OUT INTO THE

COMMUNITY AND TEACH WORKSHOPS

AND ENGAGE CHILDREN AND ADULTS,

ALL AGES, ALL SOCIO-ECONOMIC

LEVELS.

>>

EDUARDO VILARO: WHEN WE DO WORK

IN THE COMMUNITY IT'S ABOUT

SAYING THIS ART FORM IS YOURS.

EVEN IF YOU'RE NOT LATINO. YOU

DON'T HAVE TO LEARN TO SPEAK

SPANISH. YOU LEARN TO MOVE,

ANOTHER LANGUAGE THAT THAT

BREAKS BARRIERS OF COLOR AND

SOCIAL STATUS. AND YOU KNOW WHEN

YOU GRAB SOMEONE'S HAND AND YOU

LEAD THEM ONTO THE DANCE FLOOR,

EVEN THE PERSON THAT'S MOST

INHIBITED, LET'S GO JUST A

LITTLE BIT. AND IF WE CAN FIND

THOSE POCKETS OF LETTING GO AND

OPEN THEM EVEN MORE, THAT'S WHAT

BALLET HISP ÁNICO IS ABOUT RIGHT

NOW.

>>

PHILIPPE DE MONTEBELLO: NEXT

WEEK ON NYC-ARTS A BEHIND THE

SCENES VISIT WITH THE FAMED

METROPOLITAN OPERA CHORUS . AND

>> WE'RE A COMPONENT OF 80

INDIVIDUALS.

WE FIGURE OUT HOW TO CREATE A

CHARACTER AS A CHORUS BY OUR

MUSICAL EXPRESSION OF THE SCORE.

AND

A VISIT TO THE BROOKLYN STUDIO

OF A MODERN-DAY VIOLIN MAKER.

>> EVERY VIOLIN I MAKE.

IF AN INSTRUMENT COMES BACK AND

I LIKE IT.

I WANT TO MAKE ANOTHER ONE LIKE

THAT.

I HAVE RECORD OF WHAT I DID.

PDM: THANK YOU FOR JOINING US

THIS EVENING. I'M PHILIPPE DE

MONTEBELLO ON LOCATION AT THE

METROPOLITAN MUSEUM OF ART.

GOOD NIGHT, AND SEE YOU NEXT

TIME.

FUNDING FOR NYC-ARTS IS MADE

POSSIBLE BY THEA PETSCHEK

IERVOLINO FOUNDATION THE LEWIS

“SONNY ” TURNER FUND FOR DANCE

JODY AND JOHN ARNHOLD ROSALIND

P. WALTER ELISE JAFFE AND

JEFFREY BROWN CHARLES AND

VALERIE DIKER THE NANCY

SIDEWATER FOUNDATION ELROY AND

TERRY KRUMHOLZ FOUNDATION THE

MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELLEN AND JAMES

S. MARCUS THIS PROGRAM IS

SUPPORTED, IN PART, BY PUBLIC

FUNDS FROM THE NEW YORK CITY

DEPARTMENT OF CULTURAL AFFAIRS

IN PARTNERSHIP WITH THE CITY

COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

NYC-ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK AND

>> FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST

REFERS TO THE FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH THE

DOOR.

RECOGNIZE EVERY CLIENT IS AN

INDIVIDUAL WITH UNIQUE NEEDS.

SERVICE.

IN THE FORM OF PERSONAL BANKING.

OUR MISSION FROM OUR VERY FIRST

DAY.

IT'S STILL THE FIRST THING ON

OUR MINDS.

BY SWANN ACTION GALLERIES.

>> WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS OFFERING

BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY.

INFORMATION AT SWAN

GALLERIES.COM.

STREAM NYC-ARTS ON

  • ios
  • apple_tv
  • android
  • roku
  • firetv