"[The] monumental scope of the portraits has the effect of making the dancers into godlike figures.
At this scale and speed everything the dancer does has an air of the miraculous."
– The New York Times, July 8, 2007
Slow Dancing is a series of 49 larger-than-life, hyper-slow-motion video portraits of dancers and choreographers from around the world. Each subject’s movement (approximately 5 seconds long) was shot on a specially constructed set using a high-speed, high-definition camera recording at 1,000 frames per second (standard video captures 30 frames per second). The result is approximately 10 minutes of extreme slow motion. The trio of portraits will be randomly selected for each cycle, allowing viewers to simultaneously compare dancers from different styles and cultures.
What at first appears to be a series of still photographs unfolds gesture by barely perceptible gesture—a motion portrait in which each dancer’s unique artistic expression and technique are revealed. Viewers can choose to focus on one dancer’s complete performance or observe the interplay among the three screens. The extreme slow motion enables the viewer to share privileged information about the complexity of the simplest gestures, catching details that would normally escape the naked eye.
Major support for Slow Dancing provided to David Michalek by commissioning grants from the Los Angeles Music Center, Sadler’s Wells, London, Luminato: Toronto Festival of Arts and Creativity, and Walton Arts Center, Northwest Arkansas, USA
Portraits of Sandra Lamouche and Clarence Ford are commissioned by Luminato: Toronto Festival of Arts and Creativity
“There is a celestial harp: this human harp is a likeness of it.” - Sankhyayana Aranyaka, VIII, 9
This project has come to fruition within the last year, but it’s been gestating for much longer. It’s not always easy to point to the specific factors that bring a new work, or the impulse to create one, into being. The overlapping issues, passions, and fascinations that merge with willingness, opportunity, and aptitude are not always obvious.
One impulse was clear. I love dance. I love watching it. I love what dancers do, who they are, and what they stand for. Dance is an underappreciated art form—the NEA tells us that only eight percent of the U.S. population will ever see a live dance performance. This led me to the idea of making a visual statement centered on celebrating dance — but not limited to any one kind of dance—to try to capture the “essence” of dance in a different medium.
A second impulse was my natural urge to make portraits. The best portraits teach me how to look longer and harder and deeper at my fellow human beings. As a portrait artist, this is what I strive to do. I could make a portrait of anyone, anywhere and be happy doing so, but there is a certain pleasure in having dancers as one’s subject.
Common to almost every work I undertake is the desire to engage the beautiful, to spark people’s creative imagination, and to fill them with a sense of wonder and even love. So much of what I’m ultimately interested in is the sacred potential of art—work that not merely beautifies but also beatifies.
William Carlos Williams said that poets write for a single reason—to give witness to splendor. This is also why, I think, dancers dance. Susan Sontag once pointed out that “no art lends itself so aptly as dance does to metaphors borrowed from the spiritual life (grace, elevation)….” But I also believe that certain harder and rougher metaphors borrowed from the life here below (gravity, striving, failing, falling) are equally important to what dance is and who dancers are. To paraphrase Simone Weil, grace is also the law of the descending movement—some people fall to the heights.
I am not a dancer, though I am married to one—Wendy Whelan. Having this exceptional woman and great artist by my side has been, and continues to be, one of the greatest privileges of my life. Knowing her and witnessing the intertwining splendor of her life and work has influenced my own in ways that are both the easiest and the most difficult to speak about.
—David Michalek
David Michalek is an artist who takes the concept and techniques of portraiture as the starting points for the creation of his works, on both a large and small-scale, in a range of mediums. His focus over the past ten years has been closely tied to his interest in relational aesthetics—specifically using performative and interactive techniques—storytelling, dialogue, movement—relying on the input and responses of others—subjects, collaborators, and audience—as integral to both the creation and the experience of his art. He has been drawn in particular to projects that bring together diverse groups of people in settings ranging from galleries to public spaces, churches and community organizations to health-care facilities.
David Michalek earned a B.A. in English Literature from U.C.L.A. and also studied filmmaking at NYU. He worked as an assistant to noted photographer Herb Ritts for two years. Beginning in the mid-1990s, he began his professional photographic career and worked regularly as a portrait artist for publications such as The New Yorker, Vanity Fair, Interview, and Vogue. Concurrently, Michalek began experimenting with performance and installation, and developing large-scale, multi-dimensional projects. His solo and collaborative work has been shown nationally and internationally, with recent solo exhibitions at Yale University, The Brooklyn Museum, and The Kitchen. He has collaborated with director Peter Sellars on two staged works: Kafka Fragments, presented as part of Carnegie Hall’s 2005-06 season; and St. François d’Assise, presented at the Salzburg Festival and Paris Opera. Other film and video work for theater includes collaborations with The Tallis Scholars; John Malpede and L.A.P.D. on three works, Agents and Assets, The Skid Row Museum, and RFK in EKY; and with the Brooklyn Philharmonic in a project for The Brooklyn Museum’s "Music Off the Walls" series. Michalek has been the recipient of numerous grants and fellowships, from, among others, The Franklin Furnace, The Durfee Foundation, The California State Arts Council, the Jerome Robbins Foundation, Karen-Weiss Foundation, and the Performing Arts Center of Los Angeles County (commission grant toward the creation of Slow Dancing). Beginning in spring 2007, he will be an artist in residence with The World Performance Project at Yale University. He is a visiting faculty member at Yale Divinity School, where he lectures on religion and the arts. David Michalek lives in New York with his wife Wendy Whelan, principal dancer of New York City Ballet.Dancer Bios(each followed by photo)
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Omayra Amaya Omayra Amaya is the great-grandniece of the legendary flamenco dancer Carmen Amaya. She runs the Omayra Amaya Flamenco Dance Company and School in Miami, Florida. |
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Karole Armitage a former dancer with the Merce Cunningham Dance Company and the Geneva Ballet, spent many years choreographing for companies in Europe. She is currently the artistic director of her New York City–based contemporary ballet company, Armitage Gone! Dance, founded in 2005. |
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Alexandra Beller Alexandra Beller was a member of the Bill T. Jones/Arnie Zane Dance Company from 1995 to 2001. She is now artistic director of her own company, Alexandra Beller/Dances., |
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Brooke Broussard A native of Lafayette, Louisiana Brooke Broussard is a founding company member of Shen Wei Dance Arts. Brooke earned a BFA in Dance from the University of Southern Mississippi where she studied under Patricia A. McConnell. Brooke has created and performed her own choreography in New York at CBGB’s, PS 122, Piano’s, for the Louisiana Dance Festival, and NOHspace in San Francisco. |
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Trisha Brown a leader in postmodern dance for four decades, is artistic director of Trisha Brown Dance Company (TBDC). She appeared as a choreographer with TBDC and opera director for Lincoln Center Festival 2001 and will appear in Lincoln Center Out of Doors 2007. |
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Roxane Butterfly Roxane Butterfly is founder and artistic director of Worldbeats. She has performed solo throughout the United States, as well as in West Africa, Sri-Lanka, Israel, Russia, Italy, France, Spain, and Germany. Butterfly will appear in Lincoln Center Out of Doors in 2007. |
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Dana Caspersen Dana Caspersen danced with Ballett Frankfurt under the artistic direction of William Forsythe from 1988 to 2004 and is a founding member of The Forsythe Company |
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Patrick Corbin Patrick Corbin is a former lead dancer with the Paul Taylor Dance Company and formed his own company, CorbinDANCES, in 2003. Corbin also frequently performs in Lincoln Center Out of Doors. |
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Herman Cornejo Argentinean Herman Cornejo danced with Ballet Argentino before joining American Ballet Theatre in 1999. He is now a principal dancer with the company. |
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Wayan Dibia Wayan Dibia is a classical Balinese dancer and faculty member of The Indonesia Institute of the Arts, Institut Seni Indonesia in Denpasar, Bali. |
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Gabriel “Kwikstep” Dionisio Hip-Hop dancer and choreographer Gabriel “Kwikstep” Dionisio founded Full Circle Productions, a hip-hop collective, with his wife, Rokafella. |
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Megumi Eda Born in Japan, Megumi Eda has danced with the Matsuyama Ballet Company, the Hamburg Ballet, the Dutch National Ballet, and the Rambert Dance Company. She joined Armitage Gone! Dance in 2005. |
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Eiko Japanese-born choreographer and dancer Eiko, of Eiko & Koma, moved to New York City in 1976 with Koma to develop a unique, Butohinspired style of dance theater. |
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Holley Farmer A member of the Merce Cunningham Dance Company since 1997. Holley Farmer also has danced with Theatre Ballet of Canada, Oakland Ballet, and the original Canadian cast of The Phantom of the Opera. She appeared in Lincoln Center Festival 1996, 1999, 2002, and 2005. |
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Clarence Ford Clarence Ford is a prolific dancer, choreographer, teacher and film director from Toronto whose creations have been seen and enjoyed throughout Canada, the US and the rest of the world. His work includes choreography for such major film studios as DreamWorks, Universal and Miramax. He also choreographed for Cirque del Soleil. |
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William Forsythe A major force on the international dance scene, William Forsythe directed the Ballett Frankfurt for 20 years. He formed The Forsythe Company in 2004. |
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Alicia J Graf Alicia J Graf is currently a member of Alvin Ailey American Dance Theater. She has also danced with Dance Theater of Harlem and Complexions Contemporary Ballet. |
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João Grande Mestre Joao Grande, founder of the Capoeira Angola Center of Mestre Joao Grande in New York City, has traveled Europe, Brazil, Japan, and many parts of the United States to teach and perform capoeira. |
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Isabelle Guérin Former etoile of the Paris Opera Ballet, Isabelle Guerin joined the company in 1978 and became etoile in 1985 at the nomination of Rudolf Nureyev. |
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Emine Mira Hunter Visual artist and second-generation sufi mevlevi whirling dervish, Emine Mira Hunter and her father Raqib run the Open Secret School of Whirling in Vancouver. |
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Judith Jamison Judith Jamison joined the Alvin Ailey American Dance Theater (AADC) in 1965. During her 15 years with the company, Ailey created many works for her, including Cry. She was chosen by Ailey to be his successor and took over the role of artistic director in 1989. AADC appeared in Lincoln Center Festival 1996 and in Lincoln Center Out of Doors 2005. |
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Jill Johnson Jill Johnson danced under William Forsythe’s direction at Ballett Frankfurt from 1991 to 1996 and from 2000 to 2004. She is currently an adjunct faculty member at The Juilliard School. |
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Bill T. Jones Bill T. Jones, co-founder of the Bill T. Jones/Arnie Zane Dance Company, has created more than 100 works for his own company, as well as for Alvin Ailey American Dance Theater, Axis Dance Company, Boston Ballet, Lyon Opera Ballet, and Berlin Opera Ballet. He appeared in Lincoln Center Festival 2000 and 2006. |
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Allegra Kent A muse of George Balanchine, Allegra Kent joined New York City Ballet in 1953 and was a principal from 1957 to 1981. |
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Koma Japanese-born choreographer and dancer Koma, of Eiko & Koma, moved to New York City in 1976 with Eiko to develop a unique, Butohinspired style of dance theater. |
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Youssouf Koumbassa Born and raised in Guinea, West Africa, Youssouf Koumbassa is a former artist of Ballet Djoliba, the National Ballet of Guinea. He is also the founder of the New York City–based company Les Ballets Bagata. |
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Sandra Lamouche Sandra Lamouche is a professional hoop dancer from the Bigstone Cree Nation in Northern Alberta, who dances both solo and with dance troupes such as Morning Star Entertainment. Sandra was recently accepted to complete a Master's Thesis in Indigenous Studies studying Native Dance at Trent University. |
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Jodi Melnick Jodi Melnick graduated from SUNY Purchase with a BFA in Dance. She has been a featured dancer with Twyla Tharp, and Irene Hultman and currently she performs with many NYC based freelance choreographers. As a teacher, Jodi has taught master classes, technique, and workshops throughout the US, Europe, Australia, Russia, and Asia.. |
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Martinus Miroto Founder of the Miroto Dance Company, The Miroto Dance Foundation, and Studio Tari Banjarmili, Martinus Miroto is a dancer, actor, choreographer, and dance instructor at the Indonesian Institute of Arts (ISI Jogjakarta). |
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Benny Ninja Voguing legend of Westchester, New York, Benny Ninja is the father of the House of Ninja, a post given to him by the late Willy Ninja. |
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Lemi Ponifasio Samoan Lemi Ponifasio, founder and artistic director of MAU Dance Company, has performed throughout the Pacific Islands and at major international arts events, including the Venice Biennale, Holland Festival, Adelaide Festival, and Prague Quadrennial. |
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Angelin Preljocaj Angelin Preljocaj is the director of Ballet Preljocaj, based in Aix-en-Provence France, since 1984. His productions are in the repertoire of many major ballet companies around the world. He was commissioned for original works by Paris Opera Ballet, La Scala of Milan and the New York City Ballet among others. |
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Alexei Ratmansky Former dancer with the Kiev State Ballet, the Royal Winnipeg Ballet, and the Royal Danish Ballet, Alexei Ratmansky is the artistic director of the Bolshoi Ballet. |
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Desmond Richardson Desmond Richardson, former dancer with Alvin Ailey American Dance Theatre and American Ballet Theatre, is co-artistic director of Complexions Contemporary Ballet. In 2006 Richardson performed the role of Beowulf in Lincoln Center Festival’s production of Grendel and his company Complexions appeared in Lincoln Center Out of Doors. |
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Glen Rumsey a member of the Merce Cunningham Dance Company from 1993 to 1999, is artistic director of the Glen Rumsey Dance Project. His award-winning, alter-ego drag queen, Shasta Cola, has been performing for more than 14 years. Rumsey appeared in Lincoln Center Festival 1996 and 1999. |
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Ari Candrawati Saptanyana A graduate of the Indonesian National Conservatory in Denpasar, Bali, Ari Candrawati Saptanyana is dance director of Gamelan Dharma Swara, the Balinese music and dance ensemble of New York City. |
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Putu Krisna Saptanyana Born in Bali, 15-year-old Putu Krisna Saptanyana is one of the strongest performers of Gamelan Dharma Swara in New York City. |
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Bill Shannon Brooklyn-based artist Bill Shannon, a.k.a. “Crutchmaster,” has performed in contemporary art and dance festivals in the United States, as well as in France, the United Kingdom, The Netherlands, Finland, and Jordan. |
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Fang-yi Sheu former dancer with Cloud Gate Dance Company and Martha Graham Dance Company. She is the founder and Artistic Director of the LAFA & Artists Dance Company. |
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Shantala Shivalingappa Born in India and raised in Paris, Kuchipudi dancer Shantala Shivalingappa is a frequent guest artist with Pina Bausch’s Wuppertal Danz Theatre. |
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Dwana Smallwood a lead dancer with Alvin Ailey American Dance Theater from 1995 to May 2007, is currently a freelance dancer. She appeared in Lincoln Center Festival 1996 and 2000. |
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Elizabeth Streb Elizabeth Streb is the artistic director of STREB Extreme Action, a company she founded in 1985. Streb’s company appeared in Lincoln Center Festival 2006. |
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Janie Taylor A native of Houston, Texas, Janie Taylor joined New York City Ballet in 1998 and was promoted to principal dancer in 2005. |
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Christopher “Lil C” Toler Christopher “Lil C” Toler is a krumper from South Central Los Angeles and was featured in the 2005 documentary Rize. |
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Jeremy Wade Christopher “Lil C” Toler is a krumper from South Central Los Angeles and was featured in the 2005 documentary Rize. |
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Shen Wei Born in Hunan, China, choreographer, dancer, and painter Shen Wei founded New York City–based Shen Wei Dance Arts, which has toured throughout the United States, Western Europe, Australia, Israel, and Singapore. His work has appeared in Lincoln Center Festival 2003, 2004, and 2005. Shen Wei Dance Arts will also be appearing in Festival 2007. |
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Wendy Whelan Born in Louisville, Kentucky, and trained at the Louisville Ballet Academy and the School of American Ballet, Wendy Whelan joined New York City Ballet in 1986 and was promoted to principal dancer in 1991. |
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Wu Hsing-Kuo The artistic director of Contemporary Legend Theatre. He is making his Lincoln Center Festival debut in 2007. |
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Nejla Y. Yatkin Turkish-born choreographer and dancer Nejla Y. Yatkin attended the Performing Arts Academy in Berlin and has performed in the United States, Brazil, Canada, Colombia, the Dominican Republic, England, Germany, Hungary, Italy, Russia, Ukraine, and Yugoslavia. |
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P.S. In order of performers' last name alphabetic order. Not the performance on screen order.
