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March 2, 2012
Unique choreography
Aszure Barton’s next dance is for Ballet BC.
CYNTHIA RAMSAY
Creative, powerful, surprising, at times joyful, at times heartrending. Not the most original words to describe Aszure Barton’s unique choreography, but accurate nonetheless. Another word she translates into compelling movement is collaboration.
Founded in 2002, Barton described Aszure Barton & Artists to the Jewish Independent as “a project-based family.”
She said, “It is not a full-time company, and I am often hesitant in calling it one. I am interested in bringing together artists (dancers, composers, designers, clowns, you name it!), supporting creativity and facilitating an environment where new relationships are born and nurtured. It’s all about building relationships, connections, creative family. I love the challenge of constant change, and am interested in growing and remaining open to it.”
Barton, who is artist in residence at the Banff Centre in Banff, Alta., and at the Baryshnikov Arts Centre in New York City, is one of three choreographers featured in Ballet BC’s upcoming Walking Mad & other works, along with Johan Inger, who has created the title piece, and Emily Molnar. Barton is fresh off a world première at this year’s Chutzpah! The Lisa Nemetz Showcase of Jewish Performing Arts.
“My first link to the festival was a collaboration with Les Yeux Noirs,” explained Barton about Chutzpah, in which she has participated several times. “I worked with their incredible music and this led me to Mary-Louise [Albert] and the festival. We will return later this year!”
Barton’s two sisters, Charissa and Cherice, are also both dancers, and part of Aszure Barton & Artists. Cherice Barton and Donald Sales, who has danced principal roles with Ballet BC and who toured with Aszure Barton & Artists this past fall, were Chutzpah’s artists in residence this year. During the festival, in performances Feb. 19-21, the pair showcased an entertaining, fun-filled and moving piece for seven dancers, a Western, appropriately called Leaving Grit, which they created during their six-week residency. They also danced in Aszure Barton’s première.
“Chapter Three: Collaboration is a duet I created for my sister, Cherice, and Donald Sales,” Aszure Barton told the Jewish Independent. “They asked me last summer. Mary-Louise asked them if they were interested in co-choreographing a new work together and she also suggested they perform. That is when they approached me and asked if I would create a new duet for them.... I, of course, said yes immediately!”
She explained further, “I had a beautiful time working with Cherice and Donald, and I am very happy with the result. It is for them to share with us. It is a duet that looks at where they are at this point in time, and utilized this reality as a structure and theme of the work. From my experience, collaboration is always challenging and beautiful, and I hope my work supports and reveals both sides of their journey.”
The performances and the choreography were physical and emotionally charged, revealing whimsy, passion, confusion. The work was very well received by the audience on opening night, and another success can be added to Barton’s already impressive resumé.
To list but some of her many accomplishments, Barton has created works for and/or performed with Mikhail Baryshnikov, the National Ballet of Canada, les Ballets Jazz de Montréal (where she was resident choreographer from 2005-08), Sydney Dance Company and the Martha Graham Dance Company. In 2006, she choreographed the Broadway revival of The Threepenny Opera. As her works have toured to countries around the world, so is the acclaim international in scope. Yet, Barton, who was born in Edmonton and grew up there before heading to Toronto in her mid-teens to train at the National Ballet School, remains firmly grounded.
“My family has taught me to love, to believe, to be proud and incredibly grateful, to laugh at myself and with each other, to not be afraid to look like an ass, to never stop listening and learning, and to remain humble and kind,” she shared about how she is able to trust and access her creativity. “I am the baby of the family, and have always learned a great deal from my sisters and parents. I follow in their footsteps, and am very curious. Our parents have always supported our love of dance, and creativity. My mother always emphasized the importance of equality, support, respect and sensitivity. And dad reminds us of how cool, beautiful and bizarre life is. Charissa, Cherice and I have always gotten along, we are best friends, and we will always be. ‘Listen to your hearts girls,’ says mom!”
Barton added, “I feel very lucky to have this life, and to be surrounded by such incredibly beautiful people. I hope I can continue to be aware and remain sensitive, and to believe in the power of creativity. I want to keep dreaming, and to keep building creative communities and developing supportive artistic and collaborative relationships. I hope to continue working with my sisters and to never be motivated by ego. I’d like to stay connected to why I do what I do: it’s simple, really, love. I hope to always be open to change, and to always ask questions.”
And, for certain, to never be afraid of taking risks, of trying new things.
“I have learned to choreograph by choreographing,” said Barton. “I started when I was a little girl, creating little dances for my friends and sisters. This continued at the National Ballet School when I was a teenager. Then, when I moved to NYC, I decided that I wanted to get better (quickly) and so I jumped on every opportunity I could find. I worked several jobs, took dance classes, worked with some independent creators, and I presented work in little venues around town. One of my first opportunities was a dance series called Deli-dances – and, there I was, dancing in a deli on 42nd Street. Strange and wonderful.”
Barton, who is not Jewish, said, “I have always been curious about different cultures, and I also acknowledge that we are all very similar at the core. Music has played an integral role in my life. I fell in love with world music at a very young age. I love gypsy music, klezmer, tango, traditional folk songs and many other types of music. In fact, my creation for Ballet BC incorporates a lot of world sound, including a composer from British Columbia!”
The Ballet BC website offers no hint as to what Barton is working on for them, so the Independent asked her for a brief description.
“Regarding my new work for BBC,” she said, “I hope this new work supports and reveals an experience of joy, spirit and family/community. A shining light. It is called Vitulare. Now, more than ever, I am a strong believer in allowing the dance to speak for itself and I hope that each person present will have their own individual experience with no imposed limitations.”
Walking Mad & other works will be at the Queen Elizabeth Theatre March 8-10, 8 p.m. For more information and tickets, visit balletbc.com/performances.html.
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