Constellation queries the idea of fate being unalterably fixed by the placement of the stars, and our ability or inability to outwit and redesign that fate. The recurring theme is all pervasiveness of light, thought, sound and energy as the essential aspects of creation. Constellation maintains the idea of creation as one stupendously inconceivable Thought, and explores how everything is interlinked; from the seemingly inconsequential minutiae to the vast incomprehensible cosmic upheavals. Light is continuously radiating from multiple sources including the electromagnetic wave known as the physical body, as manipulated by the dancers. The finale is a pas de deux summarizing the universal idea of love, in the words of Sri Yukteswar, ‘as the ruling principle naturally implanted within the heart’, and how the cultivation of that love can work as a road map to liberation.
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Recorded: December 14, 2013 at Théâtre de Chaillot, Paris
Sidereal time — the time of stars — is the way that astronomers fix their telescopes on remote constellations from night to night, since the earth spins them away each day. Celestial geometrics align our bodies with the complex grids of galaxies, and fireflies remind us that we can almost cup the stars in our hands.
In this piece, Alonzo King explores the orientation of our bodies to light. A ground-breaking collaboration with artist Jim Campbell, Constellation is both luminous and lucid, encompassing and intimate. When the dancers glimmer into view, they move the way that ideas move through the mind: synaptically, in pulses and flashes. King’s duets seem to show that the dancers can turn on any axis, or arc upwards from any clasp. Over the course of the piece, strings of lights drape their bodies, and lighted globes are tucked into their hands or the crooks of their knees.
The score meshes Baroque music, sung by the regal Israeli mezzo-soprano Maya Lahyani, with contemporary music by Leslie Stuck, Somei Satoh and Benjamin Juodvalkis; sounds of winds whirring on white ice and the echoes of birds wheeling in the air sweep through the theater. Sleek gossamer costumes by Robert Rosenwasser and subtle, expansive lighting design by Axel Morgenthaler — hailed as “gorgeous” by the San Francisco Chronicle — set off the beauty and precision of the dancers. And the dancers, moved by Alonzo King’s idea that dancing is a form of communion that takes us beyond ourselves, glide into the light.
Alonzo King LINES Ballet benefits from the support of Bank of the West / BNP Paribas Foundation for the development of its projects.
The creation of this ballet was supported by funding from the LSP Family Foundation and by a grant from the Phyllis C. Wattis Foundation.
LINES Ballet programming is made possible in part by a grant from Grants for the Arts.
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EVERY THURSDAY | 6-7pm PDTDive into groove, culture, choreography and mechanics of hip hop dance.
October 23 | Friday, 4:30-6pm PDTBridge the gap between jazz, modern and hip hop.
October 25 at 1:30 PM - 3:30 PMA special workshop for teens taught by LINES Ballet Master Kara Wilkes.
October 29 | Thursday, 6:30-8pm PDTThis will be Kathy Mata's Annual Halloween Ballet Class. Wear a costume. Proceeds to benefit Alonzo King LINES Dance Center.