Disquiet over the blatant gender inequity in the creative ranks of ballet has been building. But at the moment it is the smaller companies who are tackling the problem most convincingly.
When Oregon Ballet Theater announced a new initiative last year to support emerging female choreographers, it received 91 applications. From that pool, Helen Simoneau, artistic director of North Carolina-based Helen Simoneau Danse, Montreal-based Gioconda Barbuto, and Nicole Haskins of Smuin Ballet were chosen to create new work. The results were unveiled on two crisp summer evenings at the outdoor amphitheater in Portland’s Washington Park.
The pieces on the triple bill differed notably in how they engaged with their music. Simoneau’s movement seemed to spring organically from the mysterious, moody score by David Schulman. In contrast, Barbuto’s dancers appeared to be in a tug-of-war with the electronic, pulsing score by Owen Belton – at times responding precisely to its rhythms, at other times breaking free from its tyranny. Haskins chose a recording of the Benjamin Britten wartime song cycle that embroidered lines of poetry from Arthur Rimbaud’s hallucinatory Illuminations. It showcased tenor Anthony Rolfe-Johnson, who sang with poignancy, despair, and a sort of deranged ecstasy. Surprisingly, the dance sailed politely over the wanton provocations of the text.
Simoneau christened her piece Departures and colour-coded her dancers into three tribes. All was painstakingly architected, notably the shifting patterns of the ensemble and the placement of the dancers’ hands on partners’ bodies. The movement was weighty yet light, skimming the ground, apart from sudden breathtaking moments of flight. Bodies stacked to make curves on curves; dancers pulled each other with great daring into sweeping arcs; trios revolved in tight intimacy. Notable in scarlet, Xuan Cheng and Brian Simcoe connected spectacularly and effortlessly, in an almost-playful mood.
There was a strong sense of a journey, and of a mutual defense pact between the tribes. The movement and lighting design emphasized the glassy quality of the slick black flooring, rather like the surface of a lake, and the saturated colours of the dancers’ second-skin unitards suggested the sometimes perilous migrations of jewel-toned waterfowl. The bird imagery was enhanced by the deployment of hands in wide, gently fluttering gestures and by the women’s lightly flicking pointework.
Avian or human, Simoneau’s dancing bodies remained fundamentally ambiguous and enigmatic. The choreographer professed to be influenced by the deep colors of a whimsical geometric work by Kandinsky, titled Soft Hard. In this piece, she seemed less interested in ballet as an art of expression, rather more concerned with the fusion of sound, colour and a stripped-down technical virtuosity into a living sculpture.
Barbuto’s dancers shed their pointe shoes and ballet slippers in favor of athletic wear and socks for her piece, titled BRINGINGOUTSIDEIN. Removing the white space between words and employing all-caps in the title reflects the breathless urgency of her movement idiom, which is as disciplined and pared-down as Simoneau’s but in a more transparently athletic manner. The dancers strode or raced on and off stage, shooting hostile or defiant glances at each other. With chins down, they boxed, shoved, invaded each other’s spaces, and administered invisible electric shocks.