BOOK REVIEW: With Ballet In My Soul - an Autobiography by Eva Maze

With Ballet in My Soul: Adventures of a Globetrotting Impresario is set to be released this spring, published by Moonstone Press LLC

Hailing from Romania, Eva Maze's story begins in Bucharest 1922. After a brief battle with scarlet fever, Maze knew from the outset that she would unlikely become a ballerina. But her affection for dance didn't disappear with her dreams of dancing. Following the rise of fascism in Romania, Maze's family made their first move- to America.  

From here, we travel to New York, London, New Delhi, Frankfurt, Berlin, Tokyo, Hong Kong, Munich, Corfu, Paris and finally, Florida.  

Maze recollects amusing anecdotes, weaving intimate details about herself and her family into the narrative. Halfway through the memoir it feels as though I'm sat down, talking to Maze myself- there is something personal and honest about With Ballet In My Soul.

The autobiography steers us through pivotal historical moments, including the aftermath of World War II, Indian independence, the building of the Berlin Wall, the Greek Military Junta and the rise and fall of Pan American World Airways. Maze's depiction of these events, through the lens of her pursuits, brings her story to life. 

With Ballet In My Soul: Adventures of a Globetrotting Impresario by Eva Maze

Maze's long and illustrious career as a producer is distinguished by her affiliations with diverse artists such as Alvin Ailey American Dance Theatre, José Limón Dance Company, Kathakali Dance Theatre and Kabuki Theatre of Japan, to name a few. The changing cultures of each country Maze has traveled to seems to have inspired much of her work. However, towards the close of the autobiography, Maze explains that moving from place to place can feel like a curse:

Because your identity is often put into question. [...] There are times when you feel you belong both everywhere and nowhere at the same time. [...] You find yourself wondering who you are. [...] Many of us still continue to struggle with where we do, in fact, belong.

In addition to Maze's evident strength in coordinating successful productions, her ability to embrace diversity and variety in her work is striking. Maze lived through a time of significant political and social change; a time which saw great changes in the arts. It seems that Maze's experiences of different cultures and societies shaped her both personally and professionally.

For more information, please visit Moonstone Press LLC. 

INTERVIEW: Bawren Tavaziva on Africarmen

This week I met Bawren Tavaziva, Artistic Director and founder of Tavaziva dance company, to discuss the company's latest work Africarmen, Bawren's interpretation of the classic Carmen story. 

Tavaziva have become the new neighbours of bbodance, after their recent office move to South West London. With the company rehearsing in the studios at bbodance, it was the perfect opportunity to sit down with Bawren and discuss his ambitions and inspirations.

Maya Pindar: tell us a bit about yourself

Bawren Tavaziva: I am originally from Zimbabwe. Since I was 8, my ambition was to have my own dance company. I worked with Tumbuka Dance Company in Zimbabwe, where I danced for about 4 or 5 years. I was inspired by Tumbuka's director, Neville Campbell, who is also the former director of Phoenix Dance Company. He was an amazing choreographer! It was him who inspired me to join Phoenix. 

I sold everything that I had back home, and bought myself a ticket to England. I auditioned for Phoenix, but didn't get the job. I wasn't strong enough technically. So I started working with other smaller companies, and kept going back to audition. And then under the direction of Thea Barnes, I got the job at Phoenix! From there, I danced with Phoenix for just under two years.

Bawren Tavaziva, PC: DILLONROSE

MP: what challenges were you faced with when you left Zimbabwe to pursue your dance career in the UK?

BT: the challenge was visas. I was on a holiday maker visa, so you were only allowed to work in restaurants and pubs- you weren't allowed to pursue your career. So that was a very difficult time for about two years for me. 

MP: can you tell us one interesting fact about you?

BT: one interesting fact about me? My ambition! I didn't realise that for some people it's very difficult to find or follow ambition. But I already had my ambition so I didn't have to work hard to find it or follow it. 

MP: what inspires you to recreate Carmen?

TB: my inspiration came from watching Swedish choreographer Mats Ek's version of Carmen. That sparked something for me- I loved the idea of creating my own African version. The percussion and energy had a lot in common to African (or specifically Zimbabwean) culture.

MP: can you tell us a bit about your choreographic process?

BT: I always create my work with something that I really feel. I tend to bring out the truth about the work. I can't just create work for the sake of it. It has to have feeling, I want my audience to feel a certain way. It is usually based on stories, but it's abstract.

Africarmen, PC: Manoj Nair

MP: what have you enjoyed the most about working on Africarmen?

BT: it was a challenge! I have approached it very differently this time. For instance, usually I compose my own music, but this time we are collaborating with different artists and musicians. So it's been so much fun. I'm also working with Neville Campbell, who is helping take my choreography further and make it clearer. 

MP: to wrap up, what piece of advice would you give 15 year old Bawren?

BT: work hard, get to work on time, get to school on time. Discipline yourself. Try to have your own self motivation. It's hard to always be motivated by someone else all the time. Get to the studio, and use it.

Africarmen begins it's spring tour in March. For full dates and detail visit Tavaziva's website.
Stay tuned for a full review of Africarmen at the end of March!

REVIEW: Dillon Dance returns to Resolution! 2017 with We Stand Alone Together

Sat 4 Feb
Resolution!
The Place
Dillon Dance - We Stand Alone Together

It's not often that a work of dance hits the spot as well as Dillon Dance's We Stand Alone Together. With its dark staging, percussive score and rich choreography, We Stand Alone Together thrusts us into the depths of a personal struggle. 

The work begins carefully, with dancer Charlotte Hannah stepping out of the silent darkness. She stares forward, her hands and arms trembling, motioning as if trying to wrench at her stomach. All the while there's a sense of intimate self awareness. From the outset, choreographer Shaun Dillon's exploration of darkness, desperation and loneliness is striking.

Dancer Emily Robinson in rehearsal with Dillon Dance, PC: Alice Underwood Films

From here, composer Jennifer Whittaker's percussive score swells and rumbles. The group of women sweep across the space, their bodies throbbing and wavering. These sumptuous moments of unison are punctured as a dancer falls out of line. Dancer Emily Robinson finds herself suddenly alone, she lingers on a thought and then throws herself back into movement. She tries and tries again, there's a familiar sense of relentless desperation.  

Dancer Charlotte Hannah in rehearsal with Dillon Dance, PC: Alice Underwood Films

Later, another dancer stumbles into the darkness. This time she truly is alone. The realisation hits- it's happening again- and she shatters into screams. While delving into the pain of individual struggle, Dillon simultaneously examines the strength of unity. A reassuring hand is placed on a shoulder and a lone dancer is swept up by the group. The dancers have army-like precision in their use of unison. There is no doubt that they have strength in their unity.

Dillon expertly builds up tension alongside Whittaker's unyielding score. There is a real feeling of agitation and restlessness that seems to stem from a deep-seated sense of frustration. The tension erupts as the group dive into a full bodied sequence, which throws them through the floor and across the space, peeling off into canon and then slipping back into the group. 

Dillon Dance in rehearsal, PC: Alice Underwood Films

Dillon's choreography is bold and uncompromising. Every decision appears carefully considered, a testament to Dillon's attention to detail. Above all, honesty shines through the choreography. There are no clichés, nothing is skimmed over, and no loose ends are left hanging. Dillon is definitely a choreographer to keep watching in the future.


Interested in Shaun Dillon's work? Check out Shaun's interview with The Insanity in Dancing here.
Resolution! 2017 continues until 25 February at The Place, for more information visit: http://www.theplace.org.uk. Maya wrote for Resolution! Review 2016, want to see last year's articles? Click here for more! 

REVIEW: Resolution! 2017: Orley Quick & The Hairy Heroines, Mater-Filia, Sketch Dance Company

Tues 31 Jan
Resolution!
The Place
Orley Quick & The Hairy Heroines As We Like It
Mater-Filia Do not Go Gentle 
Sketch Dance Company Raised By Wolves

Orley Quick's As We Like It is sexy and witty. The all male trio dive from profound fury, to surprisingly sultry, to agonising and hilarious. Dancer Terell Foreshaw seduces the audience in his floor length gown, dropping to the floor in box splits. As We Like It is hilariously funny- I only wish the amusing conversations about trousers and tools lasted a little longer.

Following Quick's romp, Mater-Filia presents Do not Go Gentle, a mother-daughter exploration of mortality. Dripping sounds, a large hourglass and the sounds of ticking clocks point towards themes of life and mortality. Undulating spines and slippery floor work is matched with dancer Lauren Anthony's grounded and bold hip-hop technique. Overall, Do not Go Gently is intensified by the technical strength of both dancers. 

Dancer Jemima Brown in Raised By Wolves, Photo Credit: Yulia Antonov

Closing the evening of performance, Jasmine Andrews presents Raised by Wolves with Sketch Dance Company. With its clear narrative guided by an original score by Oliver Swain, Madeleine Blake and vocalist Sheree DuBois, Raised by Wolves plunges dancer Jemima Brown into a journey of self discovery. The ensemble sweep across the space, in a cascade of unfurling arms and gestural mime. Brown packs a rucksack and stumbles out of her cosy home in a frenzied search for identity. She reaches, rolls and runs as the forest seems to thicken. 

Amongst the bursts of red leaves and tangled arms, Brown emerges from the shadowy darkness to be met by a friend. The pair dart about the space playfully, swinging Brown's rucksack through their legs and over their heads. Andrew's fairytale choreography reminds us of the timeless and existential question of who we are. Where do we belong? And what is it that makes us us?

Dancers Jemima Brown & Joshua Scott in Raised By Wolves, Photo Credit: Yulia Antonov

Resolution! 2017 continues until 25 February at The Place, for more information visit: http://www.theplace.org.uk

Maya wrote for Resolution! Review 2016, want to see last year's articles? Click here for more!

REVIEW: #ThrowbackThursday to my FIRST ever review - Shaun Dillon's We Stand Alone Together 2012

As part of my series of interviews, reviews and general excitement in the run up to Dillon Dance's performance at Resolution 2017, I have decided to do a (rather embarrassing) #ThrowbackThursday to one of my first dance reviews. 

As part of my dance training at University of Roehampton, one of my first tasks was to review Shaun Dillon's We Stand Alone Together. At the time, the work had been devised by Shaun in one of his 3rd year choreography modules, and wasn't quite the polished tour de force it is now.

So, brace yourself, and hopefully we will see how far my reviewing skills have come along since 2012...

Happy Thursday! 

Shaun Dillon suggests that we are always strongest in unity in his choreography of We Stand Alone Together

We Stand Alone Together, choreographed by Shaun Dillon, explores ideas of strength and weakness. These concepts are embodied by the choreographer’s use of space, numerical variation and energy. Dillon’s work suggests that humans are most powerful in unity. In contradiction, the title of the work suggests it could be possible to find ourselves feeling isolated and weak even when we’re not alone.

The beginning of the work exemplifies Dillon’s use of contrast in spacing. Six dancers stand closely together in a clump, upstage left. The closeness of their bodies creates a sense of unity. A single dancer stands centre stage, closer to the audience, at a considerable distance from the group of six dancers. This causes the dancer to appear isolated in comparison to the larger group of dancers.  Consequently the audience are given the impression of vulnerability and weakness. Dillon’s ability to create the right amount of space between the dancers’ bodies is particularly important in emphasising the contrast between strength and weakness.

The use of numerical variation is apparent towards the middle of the work. Three pairs of dancers are seen upstage right struggling to move horizontally across the space. In each pair, one dancer is bent over, throwing her arms forward desperately whilst the dancer behind pulls her back, by clutching onto her stomach. The sheer number of dancers, performing this movement results in a chaotic frenzy of arms and legs kicking and reaching across the space. This creates a scene of desperation and manipulation for the audience. Although there are many dancers performing the material in unison, it is apparent that one dancer in each pair is considerably weaker than the other. The idea of a power struggle proves that we can feel isolated even when we’re in unity.

In addition, Dillon’s use of energy helps highlight his idea of strength in unity. A phrase performed and repeated by a large group of dancers exemplifies this. The group of dancers throw their arms powerfully in front of their bodies in an ‘X’ shape and stamp their feet with strong, forceful dynamics. The repetition of this power helps emphasise the strength that they obtain collectively. However it is important to note that none of the dancers perform any contact work when performing this phrase. Due to the lack of eye contact or physical contact, Dillon could be confirming that he believes it is indeed possible to feel alone even when in a large, strong, group of people.

Dillon’s intelligent use of spatial formations, numerical variation and dynamics to contrast the strength and weakness of dancers, convinces the audience that we are most definitely strongest in groups. However it is also clear through Dillon’s lack of contact work and his idea of power struggle that it is also possible to feel isolated and weak even when we’re not alone.

PC: Danilo Moroni

Don't forget, tickets are now available! Dillon Dance are performing on 4 Feb 2017 at The Place.

ARTICLE: #FlashbackFriday Dancing Times bbodance rebrand and launch parties

This summer I wrote a short and sweet industry article for the Dancing Times about bbodance (formerly The British Ballet Organization), and their recent rebrand and summer launch parties.

Take a peek below!







Maya Pindar

CASE STUDY: Eszter Szalma & Hungarian Social Dance

This September my boyfriend and I joined my best friend Eszter and her partner Tamas to see them get married- Hungarian style. Eszter and I met at University of Roehampton, where we studied together and later travelled to the US to train at Goucher College as Dance Majors. So being one of Eszter's bridesmaids, visiting her hometown- and of course getting involved in Hungarian dance was amazing!

Photo credit: Arpad Molnar

A bit about Eszter...

Eszter is from the small town of Algyő in southern Hungary. She loves gardening, baking and above all, dancing. With her twin brother Adam, Eszter learnt Hungarian folk dance from the age of six. The classes focused on rhythm, musicality and community using traditional games, singing and creative tasks. From here, Eszter moved to ballroom, latin and ballet in her teenage years. Moving to London in her late teens, Eszter pursued formal dance training, which she found at West Thames College and University of Roehampton.

Photo credit: Zoltán Csenki

Hungarian dance...

Nowadays Hungarian community dance is usually only seen at weddings and special occasions when families come together to celebrate. However, for the generations that preceded Eszter and Tamas's generation, social dance was an important part of Hungarian culture. Social dances and balls were a place for communities to come together and for new romances to ignite. Eszter describes most Hungarian dance forms as typically including clicking fingers, slapping knees and singing. Additionally, Csárdás, a traditional folk dance that is often seen at weddings is characterised by a side-step. In rural areas of Hungary, gypsy influences are still visible in these dances- look out for shoulder shaking, clicking and fast rocking hips.

Photo credit: Arpad Molnar

Some Hungarian wedding reception customs...

• Breaking bread - the bride and groom break a large ribbon of bread, who ever breaks the largest part will "wear the trousers" in the marriage

• The red dress - half way through the night the bride changes into a red dress, to symbolise her new life

• Throwing the bouquet - the bride throws her bouquet of flowers over her head. Like in English weddings, the lucky bridesmaid to catch the bride's bouqet will be the next to get married

• Throwing the garter - after retrieving the garter from the bride's leg, the groom throws the garter over his shoulder and the lucky man to catch it will be the next to get married

• The bride dance - also known as the money dance, the father of the bride or the best man will announce that the bride is for sale! Guests will then drop money into a hat or a bucket, to pay for the privilege to dance with the bride for a few minutes. The money will help the couple pay for their honeymoon and their new life together.

Photo credit: Arpad Molnar

So, what was the main aim of Eszter's wedding.... To dance till dawn!

Many of the guests told us that Hungarian wedding parties will often continue well into the morning. To give the guests an energy boost, a midnight breakfast is served at around 2am. Beef goulash, chicken paprikás and stuffed cabbage are some of the dishes that you might see at a Hungarian wedding,

Eszter and Tamas organised a folk band for the wedding, so after another shot of Pálinka (traditional fruit brandy, also known as Firewater in the UK) the dance floor is full again. The men kneel to slap the floor, encouraging Eszter to dance faster and sing louder. The women snap their fingers and bounce to the band. 

At 5am the sun is starting to rise, but the wedding reception is still in full swing. 

Photo credit: Zoltán Csenki