MTSM
Collaborations
Sen Hea Ha
Ballet Manila
Russian Ballet
Sen Hea Ha | Artistic Director / Choreographer
Had a long historical background of dance with traditional and contemporary Korean dance that she had studied since the age of four, with an emphasis on ritual dance forms and ceremonial expressions. She graduated from the art department of Kyungsung University in Korea, and received her MA in Dance Ethnology from UCLA in 1996. And she also received her MFA in Choreography & Performance from UCLA in 1998 where she was awarded Graduate Student in Dance by the National Dance Association.
As a dance educator, she has taught many workshops, Korean dance/culture masterclasses in America, Europe, and held a lecture position in UCLA, several universities of Korea. As a performer and choreographer, Sen Hea Ha has performed in various local and international venues. She has shown her work at the Kaleidoscope Dance Festival in Los Angeles, LA Women Festival, LACE's Twisted Spring Dance Series & at LaMaMa E.T.C Theater in New York. She presented her own contemporary work at Hammoniale in Hamburg and Munich, Germany. She is an Alma Hawkins Award holder for her choreographic works. Since Sen Hea Ha was invited to Wuppertal, Germany in 1997 to study with Pina Bausch, where she had the opportunity to participate in the workshop and taught Korean dance to the company.
Sen Hea Ha performed in Peter Sellars' opera production “Le Grand Macabre” in 1994 and “Oedipus Rex/Symphony of Psalms” in 1998. Since then, Sen Hea Ha has had many encounters with composer Gyorgy Ligeti and has been extensively produced with Ligeti's music, including “ Lux Aeterna”, “Resurrection”, “Requiem”, “Works for Piano Etudes”, “Ramification”, etc. In 1998, Sen Hea Ha was invited to choreograph and perform in Surakarta (Solo), Central Java and Makassar Dance Festival in Makassar, Indonesia. Her experience with the living atmosphere, daily social life and art world in Java (Indonesia) has led her to explore forms and dance techniques of various Indonesian ethnic backgrounds and has collaborations with Javanese modern and classical dance artists.
In 2000 and 2001, Sen Hea Ha made “Labyrinth” with classical Javanese dancers and performed in Singapore and Berlin. In 2004 and 2005, with young Javanese dancers, she creates “Wahyu” performed in Uijeongbu Music Festival and Modern Dance Festival in Korea, as well as participation for Singapore Arts Mart. Her other works “Imperfection”, “Infinitâ” and “Bebrayan” performed in Gedung Kesenian Jakarta (GKJ). Her work “Wahyu” was shown in Concertgebouw Brugge, Belgium and “Infinitâ” toured in 2007 to the Netherlands, Belgium and Austria, and “Infinita” toured again in Paris in 2008. Sen Hea Ha was invited by Pina Bausch to perform her solo dance International Tanzfestival NRW 2008 Gala Concert, Dusseldorf, Germany. Sen Hea hopes to continue to work with Liegit’s Music in live.
Information
| Concept, Artistic Director | : | Sen Hea Ha |
| Choreography, Costume | : | Sen Hea Ha (in collaboration with dancers) |
| Ass. Choreography | : | Cahwati |
| Photography | : | Flendy |
| Music | : | György Ligeti Etudes pour piano premier livre (1985) Etudes pour piano deuxieme livre (1988 – 1994) Etudes pour piano extrait du Troisieme livre (1995) Musica ricercata for piano |
| Duration | : | 1 hour & 15 mins |
| Dancers | : | Agus Margiyanto, Cahwati, Luluk Ari Prasetyo, Wahyu Bayu Prasetyan, Susilo & Sen Hea Ha |
| Synopsis | : | Infinitâ means “no limit, continue, together”. Moving together, expressing a hope which to be aimed through the dance. Infinitâ is a searching process in togetherness, not only to find new expression but also more to search a process itself. Infinitâ tries to communicate Javanese and Korean Traditions through Europe music. To bridge between Java dance and Europe music. Harmonization is the most essential and valuable result. Individual expression is the result of the together process. Through Infinitâ we hope audience will be able to experience the spirit from Javanese great heritege and its dance expressions through Ligeti’s Music. |
Sen Hen Ha
“Music is listened to and visually shown through dance. The goal of Infinitâ is to be harmonized. György Ligeti, a friend who gave me permission to visualize his music through my dance. It became my life project. I danced “Piano Études” as he wanted. And now I work with Java dancers, because there are many Java tradition aspects that respond a lot to Ligeti's music. Ligeti is a special person in my life, who made me an artist. I hope to continue to create a new dance expression and find a new medium with all his music.”
About Sen Hen Ha
…I could see Sen Hea Ha’s phenomenal gift, perfect techniques, and expressivity choreographic phantasy. She is one of the very few leading dancers and choreographers today. Based on perfect body control, her dance reaches a high degree of spirituality… I will put Sen Hea Ha’s production from my music top of all which I have seen. Her dance realizations on my music corresponded exactly with the idea and spirit of my pieces.”
…as if they have always been one: Ligeti’s music and Javanese dance… Not only an unbelievable poetry arises from the complicity between dance and music, she (Sen Hea Ha) also moves the usually secret message of Asian dance to a European audience’s conceivable and close nearness …
György Ligeti | Composer
The Romanian composer György Ligeti was born in 1923 in Tirnaveni. He studied with Farkas, Veress and Jardanyi at the Academy of Budapest, where he started teaching in 1950.
During this period he followed the ruling Kodaly-Bartok? style in his works, while also writing more adventurous pieces (eg the First Quartet, 1954) that had to remain unpublished. In 1956 Ligeti left Hungary for Vienna and worked for a year in the electronic music studio in Cologne (1957). In 1961 he became internationally known with Atmospheres, where he worked with slowly changing orchestral clusters. He developed the "cloud" style in his Requiem (1965) and Lontano for orchestra (1967), while writing an absurdist diptych for vocal soloists and ensemble: Aventures and Nouvelles Aventures (both 1966). His success as a composer led to teaching appointments in Stockholm (1961-71), Stanford (1972) and Hamburg (since 1973).
Ligeti's interest in motionless drifts and mechanical processes can be seen in his Second Quartet (1968) and Chamber Concerto (1970), while the orchestral Melodien (1971) introduces a jumble of melodies. The combination of these characteristic elements culminated in his surrealist opera Le grand macabre (1978). Other latter works are Monument, Selbstportr?, Bewegung for two pianos (1976), two pieces for harpsichord (1978), two Hungarian studies for choir (1983) and a book on piano studies (1985).
Act 1
Cordes a vide
En suspens
For Irina
Der Zauberlehrling
Vertige
Fanfares
L’escalier du diable
Sostenuto-Misurato-Prestissimo
Allegro con spirito
Vivace, Capriccioso
Fém
Act 2
Andante misurato e tranquillo
Touches bloquées
Autome à Varsovie
Entrelacs
Cantabile, molto legato
White on white
Arc-en-ciel (Piano & Sen hea solo)
Autome a Varsovi
TBS Dance Theatre | Sen Hea Ha & Contemporary Javanese Dance Theatre
TBS Dance Theater is the first dance group to combine traditional Javanese expressions with contemporary expression in collaboration with Sen Hea Ha as the artistic director. Consist of young talented performers; we preserve the spirit and wisdom of Javanese ancestors' heritage, especially focusing on traditional dance. Our process and its efforts are to keep looking at our heritage. It can be achieved by creating new dance expression and developing the process of searching and learning vocabulary of Java tradition dance techniques. Creating a new dance form is a new way to build strong art communication in the future. Now TBS Danstheater is renamed “Contemporary Javanese Dance Theater”.
Reportoire
The Emperor (2008)
The Rite of Spring (2008)
A Prayer for Refuge (2006/2007)
Wahyu (2007)
Infinitâ II (2007)
Infinitâ (2005/2006)
Bebrayan (2005)
Ballet Manila
Considered a ballet company by the dancers, of the dancers and for the dancers, dance training and education are among the main priorities of the group. Most of the current soloists and members have received professional training exclusively at BM, under the watchful eye of Macuja-Elizalde and ballet master Osias Barroso, who have taught the company the extremely rigorous Russian (Vaganova) method of classical ballet.
The company is housed in a private complex equipped with three rehearsal studios, a music library, a costume and equipment warehouse, living quarters for dancers and guest teachers, as well as a collection of ballet books and video for the continuing education of the dancers and students. A fully staffed office takes care of the administrative, logistical and marketing needs and caters to all dancers' training and performance needs.
In addition to professional training and regular masterclasses for the company, Ballet Manila also conducts summer workshops and year-round ballet classes for young dance enthusiasts. Deserving students may be awarded scholarships, while those who eventually qualify are invited to join the company as professionals.
To date, Ballet Manila is the only Philippine company capable of performing a full classical repertoire in every concert season. Regularly taking the stage at the Aliw and Star Theaters are critically acclaimed, full-length performances of Swan Lake, Don Quixote, The Nutcracker, Giselle, La Bayadere, Romeo and Juliet, Carmen, Le Corsaire, and other classic staples, as well as contemporary Philippine ballet pieces by some of the country's leading choreographers.
Likewise, it is gaining popularity following Ballet Manila's unique association with Manila Broadcasting Company, the highly successful concert series “Ballet and Ballads” – featuring the artistic fusion of pop songs and classical dance, offered to the public free of charge. Meanwhile, in Star City, park-goers are treated to free ballet concerts on weekend evenings, as part of Ballet Manila's pledge to bring ballet closer to the hearts of the masses.
Ballet Manila stands on a steadfast commitment to ballet and a collective confidence in the group's goals and aspirations.
It strives for nothing less than excellence in every performance and offers nothing less.
This is Ballet Manila - your "Storytellers on Toes".
Russian Ballet
All the young star dancers are masters of the virtuoso Vaganova ballet technique and they now dance in Russia, are of Russian descent or were formerly based and trained in previous Soviet republics associated with the Russian Federation. Some still dance in Russia with the famous ballets of Mariinsky and Bolshoi; some are stars in other companies.
The Bolshoi Ballet, Marinsky Ballet and the Ukrainian National Ballet are the cornerstones of classical ballet dancing. All companies are based in Russia, where the gems of classical ballet – including Swan Lake, Nutcracker, Don Quixote, Sleeping Beauty – came from. These three ballet companies remain the best in the world.
Dancing to Czerny
Information
| Featuring | : | Principal Dancers of The Bolshoi Ballet, Marinsky Ballet, and Ukranian National Ballet with Lisa Macuja-Elizalde and Ballet Manila |
| Dancers | : | Couple-1 : Jurgita Dronina, Davit Galstyan Couple-2 : Yana Selina, Mikhail Lobukhin Couple-3 : Aleksander Zhembrovskyy, Viktoriya Ananyan Couple-4 : Maria Mishina, Dimitry Zagrebin Couple-5 : Isaeva Anastasia, Yury Mirov |
| Performance | : | July 10, 2010 – 8:00 p.m. Aliw Theater, Pasay City, Manila, Philippines |
| Production | : | Lisa Macuja-Elizalde and Ballet Manila in collaboration with Aleksander Zhembrovskyy and Gerard Mosterd of Kantorpos.nl the Netherlands are proud to present to you this extraordinary selection of today’s young stars of the Russian Ballet. |
| Tickets | : | Tickets Available at all Ticketworld outlets, selected National Bookstore branches, Robinsons Department Store (Galleria, Malate, Festival Mall, Metro East, & Starmil Pampanga), and Ayala Center (Greenbelt 1 & Glorietta 1 Cinema Booth) and on Ticketworld website. Call (+63 2) 891-9999 for inquiries and reservations. |
Act 1
DANCING TO CZERNY
Choreography Tony Fabella
Music Carl Czerny
Dance Lisa Macuja Elizalde and Ballet Manila
EVACUATION
Choreography Augustus F. Damian III
Music Mike Oldfield
(A Special Number from Ballet Philippines) Abridged version for the 2010 International Ballet Competition, Jackson, Missisippi, USA
Dance Candice Adea Silver Medalist, Senior Women’s Division
Dance Jean Marc Cordero Semi-Finalist
LA FILLE MAL GARDEE
Choreography Oleg Vinogradov
Music Ferdinand Hérold
Dance Marina Mishina Soloist, Bolshoi Ballet
Dance Dmitry Zagrebin Soloist, Bolshoi Ballet
ROMEO & JULIET BALCONY SCENE
Choreography Leonid Lavrovsky
Music Sergei Prokoviev
Dance Yana Selina Soloist, Mariinsky Ballet St. Petersburg
Dance Mikhail Lobukhin Principal Dancer, Bolshoi Theatre Ballet Company
SLEEPING BEAUTY PAS DE DEUX
Choreography Marius Petipa
Music Pjotr Illich Tchaikovsky
Dance Isaeva Anastasia Soloist, Jacobson’s Russian State Ballet
Dance Yury Mirov First Soloist, St. Petersburg Ballet Theatre
TWO PIECES FOR HET
Choreography Hans van Manen
Music Errki Sven Tuur, Arvo Part
Dance Viktoriya Ananyan Soloist, Perm Ballet, Russia
Soloist, Dutch National Ballet
Dance Alexander Zhembrovskyy St. Petersburg Classical Ballet Theatre
Soloist, Dutch National Ballet
LE CORSAIRE
Choreography Oleg Vinogradov
Music Riccardo Drigo
Dance Jurgita Dronina Principal Dancer, Swedish Royal Ballet
Principal Dancer, Dutch National Ballet
Dance David Galstyan School of National Ballet in Yerevan
Soloist, Ballet du Capitole de Toulouse
FLAMES OF PARIS
Choreography Alexei Ratmansky
Music Boris Asafyev
Dance Marina Mishina Soloist, Bolshoi Ballet
Dance Dmitry Zagrebin Soloist, Bolshoi Ballet
Act 2
RECONFIGURED
Choreography Augustus F. Damian III
Music Von Magnet
Dance Ballet Manila
REBEL
Choreography Augustus F. Damian III
Music Aram Khatchaturian
Dance Lisa Macuja Elizalde and Rudy De Dios
GISELLE PAS DE DEUX
Choreography Mikhail Lavrovsky
Music Adolphe Adam
Dance Yana Selina Soloist, Mariinsky Ballet St. Petersburg
Dance Mikhail Lobukhin Principal Dancer, Bolshoi Theatre Ballet Company
WIE LANGE NOCH
Choreography Krzystof Pastor
Music Kurt Weill
Dance Viktoriya Ananyan Soloist, Perm Ballet, Russia
Soloist, Dutch National Ballet
Dance Alexander Zhembrovskyy Soloist, Dutch National Ballet
St. Petersburg Classical Ballet Theatre
THE BLACK SWAN PAS DE DEUX FROM SWAN LAKE
Choreography Petipa
Music Tchaikovsky
Dance Isaeva Anastasia Soloist, Jacobson’s Russian State Ballet
Dance Yury Mirov First Soloist, St. Petersburg Ballet Theatre
DON QUIXOTE PAS DE DEUX
Choreography Alexander Gorsky after Marius Petipa
Music Ludwig Minkus
Dance Jurgita Dronina Principal Dancer, Swedish Royal Ballet
Principal Dancer, Dutch National Ballet
Dance David Galstyan School of National Ballet in Yerevan
Soloist, Ballet du Capitole de Toulouse
Organization
Gerard Mosterd graduated from the Royal Conservatory in The Hague in 1985, where he was taught by various academic dance teachers such as Benjamin Harkarvy, Marian Sarstädt, Robert Fisher and Linda Goss. Then danced with the Royal Ballet of Landers under the direction of former Marinsky star Valery Panov and later Robert Denvers. Danced classical, neoclassical and contemporary roles for five seasons with London Festival Ballet/English National Ballet under the direction of Peter Schaufuss and later Ivan Nagy. Gerard was promoted through the ranks to soloist. Performed worldwide in hall productions by renowned choreographers from the classical, neoclassical and modern scene. From Petipa to Lindsay Kemp, Christopher Bruce, Mats Ek and beyond. Danced in Makarova's 1988 film about Swan Lake. Joined Concordanse in Paris directed by Francine Richard and later Basel Ballet under Youri Vamos. Eventually worked as a soloist and ballet master/assistant director for Ulmer Ballet in Germany before returning to the Netherlands in 1996 to focus on organizing and creating independent, Eurasian-inspired productions. Every year, Gerard realizes innovative, interdisciplinary productions and tours in the Netherlands and Asia. With his office Kantor Pos he focuses on facilitating the exchange of European-Asian physical theater interaction. Also see: gerardmosterd.com.
