Aszure Barton on faculty at USC

AB Kaufman

Houston Ballet Premieres

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REVIEW: Aszure Barton’s Indomitable Waltz at the Kennedy Center

DC metro

“Aszure Barton’s Indomitable Waltz is a graceful etude in human flow. The piece moves you through the full range of human emotions and what they look like when they express in passionate extremes. Dancers glide like milk and honey streaming between bodies in seamless connection. There are no separations as the parts become the whole.

The easy fluidity and beautifully smoothe changes in positions deeply imprint the subconscious narrative of this elegant work. Dancers move to new highs or emotional lows with vertebra-by-vertebra flexing spines, swiveling hips, whole-body roll-ups, shivering shoulders or exuberant somersaults, jumping like Maasais in joy or sadness and every human emotion in between.

Distant strains in minor keys by the Balanescu Quartet and Nils Frahm add a melancholy element while Nicole Pearce’s dark mood lighting frames the dancers in moments of intentional connection or asymmetrical knees and arms in seemingly awkward agitation. As if needing to give or receive support from the buffeting winds of change, the final tableau depicts two dancers simply walking away from it all holding hands–in resolved acceptance–as the lights go down.

Malpaso is a company of technically strong, athletic dancers – the males and the females. Their muscular, toned bodies were unadorned in simple black leotards or bras with tight tank tops in Indomitable Waltz. Fritz Masten’s unflashy costuming adds a dramatically simple statement to the complexity of the human experience as danced by all ten dancers of the company in this lushly appealing work.”

READ ENTIRE ARTICLE HERE.

REVIEW: Nonett + A dance essay about life

— TRANSLATED FROM GERMAN —

Nonett – A dance Essay about life

Prologue to the first blog text “Nonett – A Dance Essay on Life”

For a long time now I have been using the idea of ​​regularly publishing texts on moments of life that seem to me to be put into a special light through words and to give these moments such an even greater emphasis.

Now finally came the last impulse to implement this project:

The new creation of the renowned Canadian choreographer Aszure Barton with “my” young dancers of the Bavarian Junior Ballet Munich (formerly State Ballet II) has enchanted me. At the Bosl Matinee on May 6, 2018 on the stage of the Bavarian National Theater.

And the magical work was so strong that I finally realize my plan.

NONETT – A DANCE ESSAY ON LIFE

I love art and culture. Especially dance. For me, art in all its forms is the soul of our society, and I believe that we need people who care completely for the soul and spirituality of our society. Give yourself.

I am often in the theater and see a lot of art on stage. Nevertheless, it rarely happens that I experience what I experienced at “Nonett” in the Bavarian National Theater at the Bosl-Matinee: A feeling of deep understanding in my being human. My human being spread out and mirrored in a choreography. An energy that encloses me as a spectator from the stage. Magic. Transcendence.

It was as if the Canadian choreographer Aszure Barton had a magic powder on the nine dancers on the stage and blew us in the auditorium. It has enchanted and reminded us that dance – and therefore life itself – does not always need action and drama, but that life, with its everlasting changes, can unfold a magic that we can not escape and that all of us share combines.

TO READ ENTIRE ARTICLE CLICK HERE

Review: Frankfurter Allgemeine

FA

“The leading dance house in contemporary dance,” Sadler’s Wells Theater “, has now presented the ENB with the program” Voices of America “, starting with a very fast-paced, elegant, eclectic work by Canadian Aszure Barton, who was born in 2016 for the ENB.” Fantastic Beings “to contemporary orchestral music by Mason Bates.” Anthology of Phantastic Zoology “is an original, high-culturally upgraded film-accompaniment music that Barton has crafted into richly detailed, musical-like, mercurial motion streams for the large group.

Twenty dancers dressed in dark, high-necked whole-body jerseys glide across the stage in front of a star-studded night sky. Animal movements dictated by instincts dissolve with classical, dynamically performed, beautiful steps. Despite the fact that Barton makes use of various dance idioms, you will not be bored for a second. Because she is a true master of phrasing, she surprises by the seemingly random juxtaposition of Cunningham and Broadway, Break or Balanchine. It serves every beat and gag of the music, but so flattering and pointed that it somehow ennobles this music. “Fantastic Beings” is refined. “

Read entire article

REVIEW: Highlight of the dance year!

Crystal Costa in Aszure Barton's Fantastic Beings

Crystal Costa in Aszure Barton’s Fantastic Beings

“Once is happenstance, twice is coincidence, and the third time – in this case – it is definitely a thing with female Canadian choreographers. Crystal Pite and Emily Molnar are top-quality acts, and so, it seems, is their compatriot Aszure Barton, choreographer of the evening’s opening piece, Fantastic Beings (2016). Set to a symphonic score by Mason Bates, it’s an abstract piece that flirts with creatureliness without pinning anything down – are those hairy things apes or bears (or wookiees)? Are the lycra-clad dancers more like birds or lizards or gazelles? Whatever; they’re beautiful and so is the backdrop of twinkling stars. Bates’s score is long and Barton’s material feels stretched in places; at each of the (many) ending-type climaxes I thought it was a suitable time to stop. But credit for the striking sections, too: I won’t forget the image of two female dancers wheeling and diving like birds over fluttery clarinet noise, or the power of the last movement with all the dancers spinning in uncanny hair suits. (Pictured above: Crystal Costa in Fantastic Beings)

ENB’s spring triple bill at Sadler’s Wells has become a highlight of the dance year.” – theartsdesk.com

 

REVIEW: Aszure Barton’s work for La Scala is a treasure

Mahler 10

Aszure Barton has created a gem of a ballet for Milan’s Teatro alla Scala. Mahler 10 uses the first movement of Gustav Mahler’s unfinished Tenth Symphony and above it, Barton fashions a small world with a community of people who play, cry and love with directness and simplicity.

Although the music is Mahler’s, the atmosphere is certainly not European, evoking the open spaces of North America, or maybe Russia: Seven Brides for Seven Brothers meets The Cherry Orchard? Reviewing the premiere of ’ Dances at a Gathering (also set to European music yet infused with American expansiveness) critic Clive Barnes for The New York Times wrote that it was “as honest as breathing”. Barton is truly honest. She doesn’t do fancy, prefering to communicate clearly and openly.

A white circular dance floor occupies ’s large stage, and around the wings and backdrop hovers a semi-circular panel, similar to a Seven Brides for Seven Brothers cinemascope screen, in effect. From beneath this, dancers burst into the performance space — no one wanders, they all have something to say. At one point three of the men rush on, like the On The Town sailors, so eager to be alive and bursting to leap and turn.

And how they turn. Turns of every imaginable kind – in fact, circularity, like the set, is the work’s dominant theme. Dancers come together to form Busby Berkley-like flower patterns, they slowly rotate their hips, they trace circles around themselves while sitting on the floor – it creates an impression of unending movement, of flow, a brook which eddies and purls around the stones.

Barton’s movements complement the music, adding a layer above it by not attempting to mimic its phrases and dynamics. Although there are some complex passages of choreography with brilliant footwork and intricate lifts, nothing is affected or uncalled-for. Barton is a master at marshalling groups, and her power in Mahler 10 is to use her 26 dancers to maximum effect by having them do the simplest actions as one — just slowly rising to half-pointe, gently swaying, rushing from one point to another on the stage like a flight of doves, and merely laying sparsed across the stage.

Antonino Sutera is Mahler 10’s central figure, and Barton manages to tap into this virtuoso dancer’s deeper well of emotion, for his sometimes fixed, if charming, smile can become a security blanket and mask what he can really express. He was excellently supported by featured dancers , newly nominated Principal Dancer Virna Toppi, , Christian Fagetti, Federico Fresi and Chiara Fiandra, who worked convincingly as dancing actors, never less than thoroughly engaged.

Burke Brown’s eloquent scenery is matched by his subtly shifting lighting, caressing the dancers throughout, and contributing to Mahler 10’s simple, memorable and emotional closing moments. Aszure Barton’s enchanted world entices with simple fascination and you leave it with a sense of melancholic satisfaction.

— By G  (click here to read article)

REVIEW: FIVE STARS! Voices of America

ENB unleashes another triumph with Voices of America bringing the opening night audience to a standing ovation: I have rarely seen anything so THRILLING – Do NOT miss.

fantastic beings image

By Stefan Kyriazis

“FANTASTIC BEINGS: 5 stars – Aszure Barton’s 2016 opener, Fantastic Beings, was packed with references to the classic days of Jerome Robbins and Balanchine but felt new and deliriously delightful. The extraordinary play between the beautiful choreography, lighting, costumes and music made this a complete piece of art. A feast for the senses, it called to mind the similarly glorious effect of Akram Khan’s Giselle.The unequivocably flawless dancers radiated their joy in every move, often making eye contact with the audience, drawing us in and never letting go.The music by Mason Bates, titled Anthology of Fantastic Zoology, was perfectly brought to life by a stampeding corps or sinuous solo. Isaac Hernandez was as technically and lyrically impressive as always and matched by a cast on phenomenal form. There were moments of utter beauty of line, of movement and even of stillness.It ended on a cascading deluge of giant silver glitter and the entire piece lingers in my mind like the after-image when you close your eyes after gazing at a almost too bright light. I simply can not wait to see it again.”Click here to read the whole review.

REVIEW: “Potent Stuff!” Voices of America

“Originally commissioned for ENB’s female choreographer programme She Said, Aszure Barton’s Fantastic Beings looks like a keeper. The ensemble’s transition from slithery, reptilian creatures into fur-covered sloth-like Wookiees is endlessly intriguing and ultimately exhilarating. The ENB Philharmonic who accompany this piece is on blistering form.”

William Forsythe's Playlist

William Forsythe’s Playlist

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REVIEW: Barton is a master of phrasing

Forsythe

“Despite the fact that Barton makes use of various dance idioms, you will not be bored for a second. Because she is a true master of phrasing, she surprises by the seemingly random juxtaposition of Cunningham and Broadway, Break or Balanchine. It serves every beat and gag of the music, but so flattering and pointed that it somehow ennobles this music. “Fantastic Beings” is refined. You really like to watch it, but a little bit you also have the feeling that algorithms have produced it and our brain, which constantly creates contexts of meaning, now consistently suggests that everything runs according to human logic. ” she surprises by the seemingly random juxtaposition of Cunningham and Broadway, Break or Balanchine. It serves every beat and gag of the music, but so flattering and pointed that it somehow ennobles this music. “Fantastic Beings” is refined. You really like to watch it, but a little bit you also have the feeling that algorithms have produced it and our brain, which constantly creates contexts of meaning, now consistently suggests that everything runs according to human logic. ” she surprises by the seemingly random juxtaposition of Cunningham and Broadway, Break or Balanchine. It serves every beat and gag of the music, but so flattering and pointed that it somehow ennobles this music. “Fantastic Beings” is refined. You really like to watch it, but a little bit you also have the feeling that algorithms have produced it and our brain, which constantly creates contexts of meaning, now consistently suggests that everything runs according to human logic. “

Read the entire article by clicking here.

REVIEW: NY Times & English National Ballet

 

New-York-Times-Logo

Aszure Barton’s Fantastic Beings is “consistently gorgeous”.

Click here to read more.

 

REVIEW: Another awesome review of Fantastic Beings!

“The programme opens with Aszure Barton’s Fantastic Beings which just about sums up its ethos. I could not take my eyes off the excellent Isaac Hernandez, whose performances just seem to get better and better.” – By Jefferey Taylor, Sunday Expressfantastic beings image

REVIEW: The possibilities of the human form

“First came a particularly fine reworking of Fantastic Beings, an abstract ballet by Canadian choreographer Aszure Barton, a protégée of Mikhail Baryshnikov. To the sounds of Mason Bates’s orchestral symphony Anthology of Fantastic Zoology, the 16-strong troupe… it remains an otherworldly celebration of the possibilities of the human form.”

– The Daily Telegraph, London

Los Angeles Times: The Gem of the Night

Malpaso Review LA times

Forsythe, Robbins, Barton

Click here for details!

ENB

Aszure Barton and wonderful success at Teatro alla Scala!

Aszure Barton's Mahler 10

Cover Girl

Aszure Barton DANZA

Fantastic Beings in London at Sadler’s Wells

Click here for tickets!

English National Ballet, Fantastic-Beings-by-Aszure-Barton. Image by Laurent Liotardo

English National Ballet, Aszure Barton’s Fantastic-Beings,  Image by Laurent Liotardo

Aszure returns to Houston Ballet next season!

We are thrilled to announce that Aszure will be return to Houston Ballet next season. Click here for more information.

Aszure Barton's Angular Momentum (2012)

Aszure Barton’s Angular Momentum (2012)

Aszure Barton and Teatro alla Scala

Aszure’s new creation is under way! The world premiere of Mahler 10 at Teatro alla Scala is just around the corner!

Teatro_alla_Scala_6114856194_c56e50d264_o_copy_MITO_FESTIVAL_3_4cacdc

Culture Vulture Article

CVulture

“Aszure brings a unique joy and capacity that meets up with a current that runs through the dancers, its essential element posing the question: Where do we come from? The dancers come from a specific culture that informs how they work. Aszure was faced with the problem of how to create a work of art without being familiar with that culture. She demonstrated her capacity to go deep, discovering and offering a new vision tied into her relationship with each dancer, each of who has his or her own obsessions, insecurities, and values.” Click here to read full article

NY’s Village Voice Review

Voice

“A cast of four women and three men are illuminated by spotlights and four hanging lightbulbs in an all-black setting for Indomitable Waltz. Fernando Benet begins the piece with a phrase of joint isolations: a shoulder pulled out to the side, followed by his torso taking a winding trip to reach its new destination. His thoughtful facial expressions shine like one of the starlike bulbs from above, bringing vulnerability to his solid frame. He and his castmates wear black and gray practice clothes to reveal muscular bodies. At moments, long limbs undulate, only to punctuate a step with an awkward jerk or a hunched back. As Barton explains in the interview supplementing the Joyce’s program notes, “The process, and ultimately the dance, manifested in an intimate exploration of the soul.” Flashes of beauty and ease jut up against uncomfortable contortions; Barton seems to be experimenting with the messy imperfections of human existence. While a waltz-step was nowhere to be found, the score included one. The Balanescu Quartet and Nils Frahm made up the wafting string sounds and occasional plucks of joy that accompanied the dancers’ physicalized anguish. Yet for Barton, as the piece’s title indicates, the soul’s dance on earth seems to be unbeatable.” Click here to read full review.

“masterful” LA TIMES REVIEW

Latimes-logo

The final work, choreographer Aszure Barton’s “Indomitable Waltz,” from 2016, was the gem of the night, a piece of gorgeous scene-setting from the very first moment, when the dancers magically appeared from the black backdrop. Barton pulled bravura from each dancer without drawing attention to herself or her cleverness.”

— Click here to read the entire Times review.

 

This week at The Joyce Theater in NYC

Click image for tickets!

Aszure Barton's Indomitable Waltz | Pictured: Osnel Salgado

Aszure Barton’s Indomitable Waltz | Pictured: Osnel Salgado

Barton | Kylian | Bejart

barton, Kylian, Bejart

LA Times Review of Indomitable Waltz

Click here to read the full article.

Malpaso Review LA times

Aszure Barton + Indomitable Waltz + CUBA

Review

“The evening began with a piece staged to offer no distractions. The dancers performed in black stockinged feet, tight black shorts, and sports bras and tops, as though we had interrupted them in rehearsal. Lighting and backdrop were minimal in a refreshing artistic choice that placed all the attention on the dancing, which was extraordinary. The piece, Indomitable Waltz, choreographed by award-winning choreographer Aszure Barton…” – www.dmagazine.com

Aszure Barton's Indomitable Waltz | Image by Rose

Aszure Barton’s Indomitable Waltz | Image by Rose Eichenbaum

BUSK

Click here for more information!

Aszure Barton's BUSK - Image by Mary Mallaney, USC

Aszure Barton’s BUSK – Image by Mary Mallaney for USC Kaufman

BUSK at USC Kaufman starts today!

Aszure Barton's BUSK

Aszure Barton’s BUSK

Malpaso is currently touring Indomitable Waltz!

Click for information:

Malpaso duet

““I feel that the piece is an exploration of the human soul under extreme emotional circumstances. It’s a very refined and sophisticated work developed through improvisation and collaboration with the Malpaso dancers.” – Fernando Saez

Aszure Barton | Jiri Kylian | Maurice Bejart

In an exciting triple bill, Teatro alla Scala performs the works of Aszure Barton, Jiří Kylián, & Maurice Béjart. This program will premier on March 10th through April 7th, 2018 in Milano. For tickets and information click here.scala

Aszure and Teatro alla Scala!

Aszure has just been in Milan for ten days planting the seeds for her new creation with Teatro alla Scala! This new work, titled Mahler 10, will premier in March of next year. For performance dates and more information click here.

Milano. Image by Aszure Barton

Milano. Image by Aszure Barton

Thank you for your feedback!

Here are a few of the awesome messages we’ve received from our viewers:

“…My body and my soul are forever grateful…” Rie K.

“OMG…I just wanna scream it from the top of a mountain how great it is!” – Randy D.

“Thanks for easily one of the best and most moving dance performances I’ve ever been to!…”– Michael A.

“Awáa was absolutely phenomenal. If you can see her work, DO IT!” – Jesse A.

“My best friend from college, Karyn Klein said it was one of the best performances she has ever seen!” – Alice W.

“Thank you Aszure Barton for an absolutely breathtaking performance. I need to see Awáa again. Speechless.” – Kate T.

“…I loved the fish & the water. Loved the vocabulary & how it culminated in that water trio. Smart work”– Jamal R.

“It is a pleasure being moved by live performance. Thank you for challenging us to slow down + question” – Terence K.

“THANK U! I saw your show & I am crying so much! I have never seen a dance work that powerful” – Daisy S.

“HOLY SH*T! Thank you Aszure Barton and artists.” – Tim W.

@aszurebarton

Thank you Los Angeles!

It was absolutely wonderful sharing Awáa in LA! Thank you to everyone who came to see us! I can not thank you enough for being there. What an emotional ride it was! @fordtheatres @musiccenterla #thankyou #LALALAWAA

Aszure Barton's "breathtaking" Awáa -  Photo by Timothy Norris for the Ford Theatres

Aszure Barton’s “breathtaking” Awáa –
Photo by Timothy Norris for the Ford Theatres

#LALALAWAA THIS FRIDAY

Aszure Barton's Awáa

#LALALAWAA — Los Angeles, August 18th!

Aszure Barton's rehearsal at Ford Theatres

Aszure Barton’s rehearsal at Ford Theatres

Aszure + Cuba + Martha’s Vineyard

Today in Martha’s Vineyard — https://www.mvtimes.com/2017/07/26/yard-islands-dance-retreat/

Aszure Barton's Indomitable Waltz

Aszure Barton’s Indomitable Waltz

#LALALAWAA

LALALAWAA

Awáa will be performed in Los Angeles on August 18th. Click image for details!

CELEBRATING DANCE AND MOTHERS WITH ASZURE BARTON’S AWAA

JULY 26, 2017

by Amin El Gamal

The sound of water gushing forms an infectious beat as a group of male dancers sways their hips. The dancers seem to encompass all and no genders, evoking both an ancient ritual and the sass of 90s voguing culture. This is the delicious world of renowned choreographer and dancer Aszure Barton. Her show Awáa will make its Los Angeles (and outdoor) debut at the Ford on August 18, presented in partnership with The Music Center On Location.

Awáa means “one who is a mother” in the language of the Haida, an indigenous people living on Canada’s west coast. The title encompasses the evening’s celebration of motherhood and creation. In addition to an ensemble of seven of the world’s finest dancers, there are also video elements and original scores from composers Lev Zhurbin and Curtis MacDonald.

A native of Canada, Barton’s work has been seen from Broadway to Russia and most places in between. She has collaborated with the likes of Mikhail Baryshnikov, Alvin Ailey American Dance Theatre and Martha Graham Dance Company, to name a few. Barton is a recent Los Angeles transplant and she was generous enough to chat with me about some of her inspirations for Awáa. Check out the full interview below:

Aszure Barton's Awáa

Aszure Barton’s Awáa

What was your first inspiration for Awáa? 

Aszure Barton: My choreography grows out of conversations with the artists with whom I am working. The seed for this particular work was planted when I spoke to one of my collaborators (a dancer) about his mother. This work celebrates her and all of our mothers. It celebrates life and what it means to be human.

It’s been a few years since the show’s inception. Has its meaning evolved or changed in the context of recent events? 

Aszure Barton: The work is constantly evolving. This particular performance in LA is incredibly exciting as it is the first time we will perform it outside. It feels appropriate and will be a total adventure!

Can you share a story or moment from the process of creating Awáa?  

Aszure Barton: A lot of the creation took place at The Banff Centre (in Alberta, Canada), courtesy of Kelly Robinson (former theater and program director at Banff). Early in the process, I had a vivid dream that was a direct response to the themes we had been exploring in the studio. In this dream, I was submerged in water while sitting in an old rocking chair. It was very powerful and I decided that I needed to recreate it with my team. I ran to Kelly’s office and asked him if he would help in making it come to life. He was a total rock star in facilitating the space and my awesome collaborators were committed. Tobin de Cuore (dancer and videographer) led the way and captured some of the most beautiful underwater video footage I’ve ever seen. The ability to manifest this dream I had into reality fed the process and the visuals help carry us through the work.

What excites you most about presenting it on the Ford Amphitheatre stage? 

Aszure Barton: The space is absolutely gorgeous and the setting is also very appropriate for the work. This is the first time my work is being seen in Hollywood, on a stage built into a canyon no less. Come on!

How did you first come to dance/choreography?

Aszure Barton: I am the youngest of three girls in my family. My mother is incredibly passionate about dance. She celebrates it and, through her, we all fell in love with dance. My father loves dancing too. I moved away from home at 14 to attend private ballet school and I started to create and present choreography publicly when I was about 15. I loved bringing my friends together and designing my own principles, I loved the freedom in being creative and I loved having a voice and still do.

What advice might you give a young artist?

Aszure Barton: You are capable of anything you can dream of, but no one is going to hand it to you. You need to build it yourself. So dream as hard as you’re willing to work. Also, don’t only watch dance on a screen. Dance is alive and needs to be experienced in real life.

Why should people come see Awáa? 

Aszure Barton: To celebrate dance. To celebrate our mothers. To celebrate Mother Earth. To celebrate music. To celebrate being gay, straight, gender fluid; you. To celebrate being born. And to enjoy watching some of the most beautiful dancers/artists on the planet.

Aszure Barton’s Awáa performs on Friday, August 18 at 8:30 PM at the Ford Theatres. Tickets and info here.

 

Los Angeles + Tickets on sale now!

FOR TICKETS CLICK HERE!!!!

Hollywood awaa