Unforgettable "Dying Swan" interpreter bows out gracefully and into eternity

By Nancy T. Lu

Maya Plisetskaya, a legend in the world of ballet, is gone. But ballet fans and followers privileged to have watched her perform will keep a lingering vision of her lyrical beauty in interpreting Fokine’s “The Dying Swan.”. She first performed this in 1943, drawing raves.

The former prima ballerina of the Bolshoi Ballet arrived in Taipei with the Ballet del Teatro Lirico Nacional of Spain back in 1989. She, then in her 60s, was under contract as the company’s artistic director for two years.

On this Taipei visit, she gifted her admiring public with such hauntingly beautiful and dramatic poetry written all over her physical being, notably her arms. The “Dying Swan” choreography did not require highly technical skill. But it still demanded a lot of the ballerina.

There was hardly any need for a stretch of the imagination to catch a glimpse of mortality expressed so dramatically on the stage of the National Theater in Taipei. Bathed in a pall of gloom, the celebrated dancer in white articulated with her every move and gesture the intense sadness and pain of the dying swan in the three-minute classic ballet piece.

Plisetskaya did it once, twice, thrice but differently each time. She harnessed her then 45 years of experience on the ballet stage to dazzle a public that was undeniably full of expectations.

Her stage presence was electrifying. The excited crowd filled the theater with thundering applause. Even after her third appearance, they still refused to let her go.

Only the day before, Plisetskaya with head held high amazed everyone at a press conference with her youthful aura and dazzling presence. Everyone noted  immediately her utterly slim silhouette. She spoke very little and only in Russian through an interpreter. Finally she walked away with an almost girlish gait despite her calendar age. 

The dancers in the Spanish dance company revealed that Plisetskaya, despite her fame and stature, treated everyone like her equal. Association with Plisetskaya, they said, also opened up the company’s opportunities to perform on the world stage.

Plisetskaya, one of the greatest ballerinas of the 20^th century, died of a heart attack on May 2. She was 89.

Celebrated Mikhail Baryshnikov laments: There is so much art but so little good art

By Nancy T. Lu 

Expect no pyrotechnics, said Mikhail Baryshnikov of the White Oak Dance Project’s modern dance repertoire at the Sun Yat-sen Memorial Hall in Taipei. That was years ago - to be exact, in February 2001. Watch out more for the lyrical quality of the dance poetry as each beautiful piece unfolds on the stage. Fun, too, is in store, he promised.

This was a chance to see Baryshnikov, still in good shape, move with much younger dancers without giving away his age. He said during an interview in Hong Kong before his arrival in Taipei that he works seven hours a day without fail. He also puts in two more hours of rehearsal before a performance.
 

Baryshnikov follows no strict regimen to stay physically fit and in shape. The trim dancer flashed his disarming smile from time to time, revealing: “I eat everything I want. I drink in moderation. I smoke sometimes a good cigar.” He even claimed to weigh less in 2001 than he used to at age 18 simply because he burned up everything he ate.

The dance program he brought to Taipei was very Baryshnikov in the sense hat everything he stood for found expression in the selection of almost all commissioned dance choreographies. His romantic and playful personality came through. There were nonetheless suggestions of the classical dance he used to do.

The legendary dancer and former artistic director of the American Ballet Theater, already the leader of a mixed group of seven performers, was convinced that fireworks in technique should be left to talents in rhythmic gymnastics and ice skating.

“It is wrong for pyrotechnics to have taken over dance in the last 20 years,’ he remarked then. “When I was dancing classical ballet roles, pyrotechnics never emerged my priority. I wanted to show the dance and not the pyrotechnics.”

Baryshnikov explained further: “Modern dance is almost street movement. This is more contemporary folk movement. It looks simple. People in the audience may even say, ‘Hey, I can also do that.’” Okay, try it with us.”

He, who actually danced in four of the five works in the Taipei program, went on: “That’s what I like about modern dance. People can relate to the movement. They recognize it. At the same time the dance is something new to them.”

The White Oak Dance Project’s program in Taipei included John Jasperse’s “See Through Knot,” Mark Morris’ “Pecadillos,” David Gordon’s “For the Love of the Rehearsal,” Mark Morris’ “The Arrangement,” and Lucinda Childs’ “The Concerto.”

Baryshnikov even got to wear a Marcel Marceau kind of costume when he executed the dance narrative created on his body by Mark Morris during a three-week period in New York.

In his mind, the biggest challenge in having a group like White Oak is to find good choreographers, spotting the unknown ones especially in the beginning of their careers, so as to commission new works. Many well-known choreographers are very willing to work with the White Oak group but Baryshnikov is more after discovering fresh and upcoming talents.

Baryshnikov is proud of his dancers. They are like his closely-knit family. He knows each one of them very well. When he was with the ABT, he didn’t have to know everyone in the huge company.

He – Misha to those with whom he works – described his two Filipino dancers – Michael Lomeka, who grew up in Guam, and Keith Sabado, who was born in Seattle – as “extraordinary modern dancers.” Emmanuele Phuon is a French Cambodian while Rosalynde LeBlanc is an Afro American boran in Baltimore, Baryland. Raquel Aedo, whom Baryshnikov found at the Merce Cunningham School, is of Cuban descent. Emily Coates, formerly of the New York City Ballet, is one of only two dancers in the group with classical dance training.

Baryshnikov with his Kirov Ballet days behind him said at the time of the interview that he had been studying modern dance much longer than ballet. His classic dance training took nine years but that on modern dance went on for more than 20 years.

Fame and success – the kind experienced by Baryshnikov in the world of dance – make people wonder: What has been his greatest satisfaction as a dancer?

“To make my own mistake and not having to blame anybody for it,” came the reply during the encounter in Hong Kong.

Would he, if given the chance, live his life exactly as he has done all over again?

“Well, except for some mistakes, I would,” he said, while chuckling over his own human frailties. He admitted to having done some “stupid things.” But he has learned from experience.

Did he at any point consider giving up dance completely.?

“After I left the American Ballet Theater,” he said, “I wanted to take a break. So I went to Europe. For five or six months, I did nothing. I just took classes. I did not have any plan. For one year, I would say, I did not dance.”

He continued: “I could have danced with any company and could have traveled without any problem. But I wanted to start something meaningful. I realized I wanted to do something new all the time.

“For me, the greatest satisfaction is to work on the creation of a dance whatever it becomes – a failure or a success. To work with the choreographer in the studio is the biggest and most interesting time. Performing – this is already business.”

Has he ever considered turning choreographer?

“I never thought of choreographing myself,” he responded. “I don’t have the talent for it. Sure, I could come up with a piece. But when you have the luxury to work with the best choreographers, why should you add your mediocre work?”

He went on: “Believe me, I see a lot of work. Ninety percent is terrible. Only one out of ten choreographers is a good choreographer. That is true everywhere – and not just in dance but also in movie, theater and so forth.”

Baryshnikov turned around to sum: “There is so much art but so little good art."

 

 

Chinese New Year prints at Bahay Tsinoy highlight auspicious symbols

Twelve outstanding Taiwanese artists draw inspiration from the traditional Chinese culture of words and symbols in a collection of colorful Chinese New Year prints that go on view at the “Auspicious Art” exhibit at the Bahay Tsinoy in Intramuros from February 15 to March 8.

Once more, it is time to celebrate the joy of the Lunar New Year. The 12 Chinese zodiac animals - the Rat, the Ox, the Tiger, the Rabbit, the Dragon, the Snake, the Horse, the Goat, the Monkey, the Rooster, the Dog and the Pig - are central to the stories told by the different prints on view.

Chinese New Year prints called “nian hua” are traditionally displayed in homes and at workplaces to invite very positive forces and to sweep away all suggestions of negative elements. The works of art on exhibit all play up wishes entertained by people from all walks of life at the start of another 12 months.

Fish for abundance, peach for longevity, peonies for success, and a vase for peace and harmony are some of the meaningful images introduced in the traditional pictorial art to usher in a happy Lunar New Year.

Family values like togetherness and protectiveness are in focus, too, in some of the pictures in the collection.

Some of the artists incorporate Chinese calligraphy and even Chinese papercut in their creative art. Printmaking techniques include silkscreen, woodcut, linocut, mixed media and digital art method.

Bahay Tsinoy is located on the corner of Anda Street and Cabildo Street in Intramuros. For more information, call tel. (02)526-6796.

ICA Golden Jubilarians receive roses and kisses for they have come a long way

Famous heartthrob Daniel Matsunaga gallantly gave the Golden Jubilarians long-stemmed roses when he appeared as guest performing artist at the Immaculate Conception Academy’s recent alumni homecoming. The serenade highlight of the evening’s memorable program saw the tall and dashing actor and model of Brazilian and Japanese parentage plant kisses on a few of the surprised honorees in long gowns.

 

 

 

The Batch 1964 alumni included Pho Hoa restaurateur Nancy Cua, Miriam College dean Lourdes Samson, CEO of Philscan Travel and Tours Sylvia Sangco and journalist Nancy T. Lu.

A Microsoft PowerPoint presentation of pictures from Helen Cokee's scrapbooks of memories unfolded while the Golden Jubilarians were in the limelight. With help from her staff at the Miriam College, Lourdes Samson put this together for projection during the program.
 

The 6-foot-1 entertainer’s moves titillated the audience during the “CHICA NA!” event on November 22 at the ICA Greenhills campus in Little Baguio, San Juan City. As he suavely romanced each of the 18 alumni in the spotlight with his song, the watching younger alumni gushed and screamed with delight. Crowd pleaser Matsunaga at one point went down on his knee before the flabbergasted alumna Mary Ng. Unstoppable fans finally rushed onstage to mob the 26-year-old ever-smiling Matsunaga.

During the preparatory meetings called by the Silver Jubilarians who were behind “CHICA NA!” on November 22, Hilda Tan So served as coordinator for the Golden Jubilarians. She kept everyone posted on the developments regarding the details of the program.

The ICAns belonging to Batch 1964 went through months of preparation for the celebration of their 50-year milestone as alumni. The fund-raising for their beloved alma mater got launched last year with Helen Cokee and Lourdes Samson opening a bank account for the purpose. The target goal of one million pesos was surpassed during the bank account closing time. One million pesos went to a scholarship fund for the poor and 300,000 pesos to the health care of the aging sisters. The money turnover took place after a Mass offered by Father Ari Dy, principal of Xavier School and himself a Silver Jubilarian of the Jesuit school he now runs.
 

Jadeite Cabbage remains main attraction at National Palace Museum in Taipei

By Nancy T. Lu

Back in 1889, when Qing Dynasty Emperor Guangxu’s Consort Jin arrived in the imperial court for her wedding, she brought as part of her dowry the famous Jadeite Cabbage with Insects, a must-see for present-day visitors at the landmark National Palace Museum in Taipei. Somehow the daily queue leading to the showcase of this symbol of female virtue is always exceptionally long. The partly white, partly green jadeite has a white stalk symbolizing purity, leaves meaning fertility as well as locust and katydid suggesting children.

Imperfections of this piece of jadeite, including cracks and patches of different natural shades, have been skillfully and cleverly turned around by an unknown 19^th century sculptor to create the veins of the cabbage’s stalks and leaves.

According to the National Palace Museum, the repository of fabulous art treasures once kept in the Forbidden City in China, the cabbage first began to turn up in Chinese paintings during the Song Dynasty (960-1279). Artists opted then not to hide the traces of insects, in fact, drawing them instead with the plants and even allowing them to nibble away, fly or jump about. Captured, therefore, was the rhythm of life and interpreted was the ideal of a harmonious co-existence of all living things in nature.

The Chinese cabbage took on different meanings for different people in Chinese history. Rulers saw the humble cabbage as a symbol of self-reflection. Subjects offered cabbage, inspiring those in power to make sure that people did not go hungry. Scholars perceived the cabbage as symbolizing lofty ambitions. Instead of pursuing fame and fortune, they were moved to seek satisfaction in what they had.

Hands of great craftsmen converted flaws of jade into priceless masterpieces, enriching lives with beautiful memories for generations. The jade treasures still are looked upon with admiration and awe by people from all walks of life.

The Jadeite Cabbage with Insects, in particular, was loaned along with calligraphies from the 7^th to the 14^th century to the Tokyo National Museum from June 24 to July 7 this year. This unprecedented move took place after lengthy negotiations which were begun in 2013. The item, thus, made a rare first voyage overseas in 65 years.

The Meat-shaped Stone, another important treasure in the collection of the National Palace Museum in Taipei, went on view also this year at the Kyushu National Museum in Japan. The banded jasper resembles pork with defined layers of fat and lean meat. As a reciprocal gesture, the two museums in Japan will lend rare works of art to the National Palace Museum in Taipei next year. 

The Jadeite Cabbage with Insects has been returned to the museum in Taipei to once more draw the admiring glances of visitors from all over the world. Displayed briefly along with the star cabbage attraction during the recent absence of the Meat-shaped Stone at the Taipei museum were the Chinese Jadeite Cabbage, the Jadeite Cabbage Floral Holder and the Nephrite Brush Holder with a Jadeite Garden Scene, all dating back to the Qing Dynasty. The eyeful of cabbage did make an impression on the exquisite Chinese taste for the vegetable.

Photographs shown above are courtesy of the National Palace Museum in Taipei.

Conductor Leonard Slatkin offers tips to entice young people to classical music

By Nancy T. Lu

Conductor Leonard Slatkin is a parent who listens to the music which his 14-year-old son likes, he revealed during his Taipei visit a few years ago. Knowing the music of this generation is important, he said, for it enables him to share with his child what is interesting in his life like classical music.

"When I was young," he recalled, "I was fortunate to have been exposed to all kinds of music, including rock, jazz, blues, as well as country and western music."

But he added, quoting Duke Ellington: "There are only two kinds of music - good music and bad music."

Slatkin observed that young people today tend to have a larger view of the music culture. But he also pointed out, this time quoting Leoanrd Bernstein: "We hear music all the time, like in the department store, in the elevator and down the hallway. But many times we don't really listen to the music. Music simply becomes something in the background."

According to Slatkin, classical music represents a kind of history. He remarked: "No great music is without connection to social history."

Slatkin conducted the Royal Philharmonic Orchestra at the National Concert Hall in Taipei during his visit.

Aaron Copland's "Appalachian Spring Suite" was in the program. According to Slatkin, the piece originally commissioned by choreographer Martha Graham for her ballet is about the Shakers, a people living in Pennsylvania and trying to build their homes and to integrate into the American life.

Gustav Mahler's "Symphony No. 1" was likewise in the repertoire. Slatkin explained: "Mahler literally took folk music and put it in the symphony. The third movement is a funeral march. Mahler abandoned the Jewish religion to convert to Catholicism. This is reflected in his music."

Slatkin also cited Beethoven's "Symphony No. 3." The composer originally dedicated it to Napoleon. But even before he could finish writing the symphony, Napoleon declared himself Emperor of Europe. Beethoven in his anger scratched out the name of Napoleon in the title. The first two chords of the symphony consequently reflected his anger.

Late Hollywood star and screen legend Lauren Bacall confessed to a life of rejection

By Nancy T. Lu

Forty-four years after she first found stardom in the motion picture, “To Have and Have Not,” American actress Lauren Bacall expressed during a visit to Taipei in 1988 her decision to remain in the acting profession. But if an aspiring actress should approach her for advice then, she would have this to say: “Go to another profession.”

After stunning her listeners with the remark, the then 64-year-old Bacall proceeded to explain herself: “Acting is a great profession but it is a hard one. Seek it if you want a life of rejection. You have to be prepared for this. All your life you will have to audition constantly.”

The blonde Hollywood celebrity with catlike green eyes, who was invited along with Glenn Ford to grace the 25^th Golden Horse Awards in Taipei, said that she did not have any secret to share regarding survival in the competitive acting profession. She went on to put it briefly, “Keep working. Keep trying and keep hoping to get a job even if there are not too many openings.”

Many people get to the point of fantasizing about making it in another field. Asked if she ever imagined herself in another profession, Bacall confessed: “I would like to come back as Fred Astaire’s partner.” Out burst her throaty laughter.

The actress who belonged to the golden age of motion pictures originally wanted to be a dancer. In fact, she trained in different kinds of dancing for 13 years. But in the end, Bacall decided that she was not as good in dancing as she wanted to be.

The two persons who influenced the screen and stage actress the most were her mother and her first husband, Humphrey Bogart. She said: “Both have influenced me in the way I feel and the way I live.”

 

 

She pointed out that her mother and her first husband, who was 25 years older than her, were contemporaries. Both, she stressed, were “strong characters.” She felt that she had something in common with them.

Bacall elaborated that having character was important. She went on: “Character has to do with how you conduct yourself and how you relate to others. It has something to do with what your standards are.”

Bacall with her air of self-confidence was identified with acting roles with character. She lamented though that the acting parts for women tended to be “mindless.” According to her, film makers didn’t seem to realize that the adult world existed. In addition, the trend seemed to indicate that life was over after the age of 25.

After her first motion picture directed by Howard Hoggs, Bacall appeared in films like “The Big Sleep,” “Key Largo,” “Written on the Wind,” “Sex and the Single Girl,” “Cobwebs” and “The Shootist.”

Bacall kept copies of some of her movies. Others were not readily available. She said that she did not bother to look at her old films. As she emphatically put it, “You just have to keep looking to the future or you will have no future at all.”

Bacall found the coloring of the black-and-white movies “disgusting.” In her opinion, it showed “the mediocrity and cheapness” of people in the movie business. Such practice ruined the movies, she commented. It reflected a lack of respect for films, she added.

Making “To Have and Have Not” proved one of Bacall’s most unforgettable experiences. “It changed my whole life,” she said. But the former model also enjoyed making motion pictures like “Murder on the Orient Express.” She tried to be happy making each film.

Which was her most difficult project? “Living has been the most difficult,” replied the entertainment personality who went through many struggles in her life.

Bacall did stage plays for a while. “Applause” was a most memorable stage production for it was her first musical. However, she went back to making movies. In 1988, she was seen in “Bogart.” This was a television production about her late husband as an actor.

Bacall became Bogart’s fourth wife in 1945. She was widowed in 1957. She remarried a few years later but the marriage to Jason Robards ended in divorce.

Aside from acting, Bacall also wrote. A 1978 autobiography titled “By Myself” was translated into Japanese. She also published “Now” in 1994 and “By Myself and Then Some” in 2005.

Bacall, one of Hollywood’s legends, suffered a stroke and passed away in New York last August 12. She was 89. Her art collection, including works by Henry Moore, Joan Miro and Pablo Picasso which were kept in her homes in Los Angeles, New York and Long Island, as well as her jewelry and furniture will go on auction next month and in March next year. She was also a collector of African art. Her fortune will be divided among her three children.