|
“Ascend”
Solo program in 3 ‘acts’ – 135 minutes with 2 Intermissions –
Optional ‘Audience TalkBalk’ following performance
Earth
“Was … Is”
~
“Dragon Fly”
~
“Lost”
~
“Ziyarah”
~
Intermission
Woman
“The Passage”
~
“The Times After”
~
“Woman Awakening”
~
“Back from the Edge”
~
Intermission
One
“above the clouds”
~
“THIS IS THE SEA”
“there’s a camel on my back II”
Solo – 55 minutes with no Intermission –
Optional ‘Audience TalkBalk’ following performance
“Dragon Fly”
~
“Infinity”
~
“face (Romp?) (or Act IV, scene V The Final Breath)”
~
“The Times After”
~
“Back from the Edge”
“there’s a camel on my back III”
Solo – 47 minutes with no Intermission –
Optional ‘Audience TalkBalk’ following performance
“Was … Is”
~
“The Passage”
~
“Ziyarah”
~
“Dragon Fly”
~
“The Great Escape”
“Soul Stories”
Solo – 58 minutes with no Intermission –
Optional ‘Audience TalkBalk’ following performance
‘Umbrella Solo’ from “City Piece”
~
“Time … rolling, rushing on, swift, silent”
~
“face (Romp?) (or Act IV, scene V The Final Breath)”
~
“The Times After”
~
“Back from the Edge”
Program Notes
“The Astral Plane”
(3 women en pointe, 2 men)
Choreographer – Ariole K. Alei
Music – Edgar Meyer – Violin Concerto
World premiere – June 2006
A contemporary ballet en pointe for lead woman and two couples, “The Astral Plane” explores the shape-shifting possibilities of ‘the astral plane’ – the world beyond form.
“Untitled”
(solo commission for Ariole K. Alei)
Choreographer – Serge Bennathan
Music – Arne Eigenfeldt
World premiere – June 2006
A new solo created to explore the potentialities of an artist who has returned to dance after 14 years’ rich experience ‘in the world’.
“Both Sides”
(2 women, 2 men)
Choreographer – Ariole K. Alei
Music – Joni Mitchell “Both Sides Now” (orchestrated version)
World premiere – June 2006
Old love, and new love. Touching, to the core of the heart.
"Was … Is"
(solo)
Choreographer – Ariole K. Alei
Music – Ayub Ogada "Kothbiro"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – September 2003
Waking … to the first rays of dawn after an earth. changing event. The survivor of an apocalypse, a creature discovers itself to be … alone.
"Dragon Fly"
(solo)
Choreographer – Ariole K. Alei
Music – Pat Metheny "Oasis"
Costume – Eva Christiansen
Lighting Concept – Ariole K. Alei
Premiere – July 1989
A voyeur view of a dragonfly beetle shedding its skin.
"Lost"
(solo)
Choreographer – Ariole K. Alei
Music – Mark Isham "In The Blue Distance"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – July 1989
"Lost" speaks of a universal human pain, a weeping emptiness, as if someone had torn a part of us from our own belly, and we were left, bleeding.
"Ziyarah"
(solo)
Choreographer – Ariole K. Alei
Music – A.D. Perry "Ziyarah" (A. D. Perry, prepared piano)
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – September 2003
Wound up like the "accelerated change" premonition of Alvin Toffler's Future Shock, "Ziyarah" lives up to David Suzuki's 'frog in boiling water' analogy of humanity's numbness to its insane pace. It winds and winds … until finally it 'pops'.
"The Passage"
(solo)
Choreographer – Ariole K. Alei
Music – Howard Goodall "She Moved through the Fair" (traditional Irish song)
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – September 2003
A young maiden on the eve of her rite of passage - her wedding.
"The Times After"
(solo)
Choreographer – Ariole K. Alei
Music – A.D. Perry (Toni Stanick, violin; A.D. Perry, piano)
Costume and Props – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – May 1988
"The Times After" first came to me as a vision at night. It persisted. It wouldn't let me rest until I had listened to it, acknowledged it, and 'created' it. A prayer for the end of sexual and physical abuse and domestic violence, "The Times After" was the first solo dance I created.
"Back from the Edge"
(solo)
Choreographer – Ariole K. Alei
Music–. Andreas Vollenweider "Drown In Pale Light" and
"The Secret, The Candle, And Love"
Costume – Ariole K. Alei (after an original design by Janet McNulty)
Lighting Concept – Ariole K. Alei
Premiere – July 1989
Inspired by my recovery from a broken knee, "Back from the Edge" is a dance of joy and appreciation, a celebration of life. It is dedicated to the will to thrive which lives in all of us.
"Woman Awakening"
(solo)
Choreographer – Ariole K. Alei
Music – Andrea Bocelli "L'Ultimo Re"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – April 2004
Re awakening … to the divine woman within the woman.
"above the clouds"
(solo)
Choreographer – Ariole K. Alei
Music – Måire and Ciaran Brennan "In A Lifetime"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – April 2004
The Ascension. The journey through the portal … to omni.dimensionality of the spirit, of consciousness.
"THIS IS THE SEA"
(solo)
Choreographer – Ariole K. Alei
Music – Mike Scott "This Is The Sea"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – April 2004
The arrival. Beyond space, beyond time.
'Home'. (At last … )
"face (Romp?) (or Act IV, scene V The Final Breath)"
(solo)
Choreographer – Ariole K. Alei
Music – Beethoven's Sonata No. 8 in C minor
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – September 1989
A comic romp through the final death scenes of Grand Opera, with a touch of the 'mad'ness of Grand Ballet thrown in. Absolute silliness, a 'psychological thriller'.
"Infinity"
(solo)
Choreographer – Ariole K. Alei
Music – Robert Coxon "Infinity"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – August 2003
Timeless, effortless, floating … as spirits we are eternal, endless, omni present.
"The Great Escape"
(solo)
Choreographer – Ariole K. Alei
Music – Marillion "The Great Escape"
Costume – Ariole K. Alei
Lighting Concept – Ariole K. Alei
Premiere – September 2003
Mesmerized by this music, I began choreographing to it before I had a conscious sense of what this dance is about. Once 'in' it … I listened within myself more deeply. The story which presented itself is this: Faced with death, the dancer realizes she has not lived so many of the moments which she has already been given. Delving back into the empty moments of her past, she fully lives them, ready, ultimately, to be taken by death. Death is a transformation; an invitation. It is a door, and a mirror. It beckons us and challenges us to actually live this gift of life which we have been given. Living life to its fullest … with no regrets.
For Technical Specifications and to arrange a performance, please contact us.
|
