“Asian American Dance Theatre”的意思、由来-开放百科全书

The Asian American Dance Theatre (AADT) was founded by Eleanor S. Yung in 1974 as a not for profit community arts organization in New York City’s Chinatown. It began as an outgrowth of the Asian American Dance Workshop of the Basement Workshop. Under the direction of Eleanor S. Yung, the AADT was notable for combining two distinct repertoires: a traditional repertoire featuring folk and classical dances from Asia and a contemporary repertoire which evokes Asian forms and sensibilities. The company was notable for its early development and pioneer promotion of contemporary Asian American dance, precursor to many new choreographers of east and west synthesis.

In the early 70s, there were very few Asian American public dance performances in New York City, and few dancers actively performing traditional Asian dance. There was a general misconception and exoticization of traditional Asian dance in the eyes of the public, and very little opportunity for Asian American choreographers of contemporary dance to create or showcase their works. The AADT became a venue and producer, providing the opportunity for both traditional and contemporary performers and choreographers to practice their art forms.

An Annual Season in NYC was held 1974-1990, featuring works by Artistic Director Eleanor Yung and guest choreographers. The company performed at the Riverside Dance Festival, Marymount Manhattan Theater, Pace University Schimmel Center, Dance Theater Workshop, Open Eye, Clark Center, Synod House, amongst many places, and received coverage in the New York Times, Village Voice, Dance Magazines, NY Post, Bridge Magazine, by critics such as Jennifer Dunning, Jack Anderson, Burt Supree, etc. Eleanor Yung’s signature piece “Passage” received high acclaim from dance critic Jennifer Dunning. In her piece “Silk road”, she collaborated with visual artist Zhang Hong-tu. Eleanor Yung's choreography has been collected on video at the Lincoln Center Library for the Performing Arts in New York City.

Dancers who had worked with Eleanor Yung, danced in her choreography or as guest choreographer for the New York Season included Marie Alonzo, Annie Bien, Fa ChingChu, Lauren Dong, Tomie Hahn, Sharon Hom, Junko Kikuchi, Young Soon Kim, Julio Leitao, Yen Leung, Lynn Macri, George Mars, Pam Noschese, Nancee Sasaki, Ray Tadio, NayoTakahashi, Michiyo Tanaka, Helen Tran, MunaTseng, Yung Yung Tsuai, Dwight Wigfall, and countless more.

Of the many activities of the AADT, one that stood out in particular was the day long (from 11am til midnight) Memorial Performance commemorating the Tiananmen Square Massacres at BMCC Tribeca Theater (1990).Zuni Icosahedron of Hong Kong was featured, and many other artists including Hikari Baba, Fred Houn and Susan Marshall participated.

In the early 1980s, outside the AADT activities, Eleanor Yung with Saeko Ichinohe, Sun OckLee and Reynaldo Alejandro formed the Asian New Dance Coalition. The Dance Coalition produced 2 seasons each showcasing a piece by each choreographer. Though short lived, this collaborative representation of Japanese American, Korean American, Filipino American, and Chinese American choreographers received high acclaim. (reviewby Jennifer Dunning)

The AADT Traditional Repertoire toured extensively in the U.S. enthralling audiences of all ages and nationalities. Throughout the 80s, the company toured to Texas, Ohio, North Carolina, New Mexico, Wisconsin, Massachusetts, and others, performing to large audiences, both outdoor and indoor. The company performed at Sister Fire in Washington DC, and at the Michigan Women’s Music Festival. It did an extensive nine-campus tour for the Penn State University system. Dancers who had passed through the traditional repertoire included and not limited to Najma Ayasha, Deena Burton, Ananya Chatterjie, Arundhati Chattopadhyaya, Kuang Yu Fong, Chen Guo, Sachiyo Ito, Nancy Latuja, Young Lan Lee, Janaki Patrick, Marlene Pitkow, Carla Scheele, Kathy Serio, Shakti, sisters Suarti and Suarni and their brother Gede.

The AADT created programs and sustained a group of artists who helped identify, preserve and enhance many diverse dance styles that originated in the countries of Asia, and showcased in communities that seek to understand their place in the American cultural milieu. These dancers not only enriched people's sense of their own heritage, they also opened up the understanding of movement and choreographic aesthetics for all Americans and artists in general.

In New York City, AADT presented traditional Asian dance in the form of lecture demonstrations in the public school system through the NYC’s BOE, and at community centers and public libraries. Professional dancers from Asia, newly immigrated and not able to find venue for their art became members of the traditional repertoire. These exquisite dancers were ambassadors of their individual cultures, and often, it would be the first time the audience came into contact with a new culture that they had little knowledge of. The performers, in full costume, spoke about the art form and the people and culture behind it.

Together with the one-hour lecture demos, the Intensive 8 week Workshop Program in Indian Dance and in Chinese Dance accompanied by comprehensive study guides written by MeriLobel, made up the Arts in Education Program of the AADT.

In 1985, the Arts in Education Program included the Pointed Brush, a visual arts workshop, conducted by Nora Shih for public school students. It was very popular in the schools until the program ended in the late 80s.

In 1986 Eleanor Yung and company members initiated the innovative D'Asia Vu choreographer showcase and performance series. It was a showcase of Asian and Asian influenced performances in a wide variety of performance genres, from puppetry, theater, mask dances, a dancer on skates, to the Chinese zither guqin, amongst many forms and disciplines. The first D’Asia vu presentation took place at Ilene Pinder’s Balinese American Dance Theater before moving back to AADT space, where it continued for many seasons. Of the many D'Asia vu performances, the noted ones included Kuang Yu Fong premiered her original creation, "A Day at the Office" with a commission grant, Tomie Hahn first performed her exquisite choreography, "Leaf", Professor Bell Yung performing on the Guqin, others included the Leela Puppets, and East West Fusion, etc.

As a community arts organization, AADT conducted dance classes in the Chatham Square Public Library offering ballet classes to children from 1974-1976. In 1976, AADT moved to its own space at 26 Bowery on the third floor. With a larger space and no time restriction as in the public library, the community school expanded and over the years, included classes in children ballet and creative dance and children art classes, as well as adult Chinese painting and calligraphy, Chinese dance, Jazz, Alexander technique, Jazzercise, Taichi, and in some years by popular demand, ballroom dancing. Children classes took place on the weekends while adult classes usually in the evenings. The loft space was divided into a dance studio and an art classroom.

The Annual Dance Recitals, bringing together the children, their parents and the community took place at the local public school PS 124, bringing out children, parents, and many community residents. There were large coverage from the local media, daily papers, weekly, and television coverage.

Dance and art teachers and the classes left important imprints on many of the young students. Some community residents credited the growth and success of students to the weekly classes they attended at the Asian American Dance Theatre/Arts Centre in their formative years.

In 1987, in line with all the visual arts programming taking place under the Asian Arts Institute of the AADT, the Asian American Dance Theatre Inc changed its legal name to Asian American Arts Centre (AAAC). In 1990, Eleanor Yung’s annual New York Season ended, and in 1997, the community school ended. The organization became a Visual Arts Organization.

See also

References

External links

Further reading