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Repertory
Collage's
repertory encompases a wide variety of traditional and modern dances from
around
the world. We can custom tailor a program for any occasion, from
educational events to cultural
programs to a full evening of music and
dance.
ANATOLIA
Anatolia is the Luleci's latest choreography. The piece did its premier in May 12-13, 2007 as part of the Collage's
annual spring show at the Boston University Dance Theatre, Boston, MA. “This number is my opportunity to
honor all the different ethnic peoples that make up modern Turkey.” says choreographer Ahmet Lüleci.
Choreography: Ahmet Luleci
Costume Design: Collage
IDENTITY
The piece did its premier, May 13-15, 2006 as part of the CRASHart's "Dance Straight UP! " at the Zero Arrow Theatre, Cambridge, MA.
Choreography: Ahmet Luleci
Costume Design: Collage
The award winning choreography Identity is commisioned by CRASHarts.
DUALITY
Duality, Luleci's recent choreography is about conflicts
and troubles of the inner emotions of a person.
The piece did its premier,
April 22-23, 2005 as part of the CRASHart's "Ten's
the limit" at the Green
street studio, Cambridge..
Choreography:
Ahmet Luleci
Costume
Design: Taylan Alkan
The
award winning choreography Duality
is partially commisioned by CRASHarts and
Moon and Stars Project.
PASSING
Passing is about the Nomadic people live and lived around
the Balkans. 9 different music piece and styles
has been used to represent
different cultural backgrounds. Luleci created an original piece based
on the
traditional movements of these people who loved moving around and
passing by just like himself. The
piece just had its premier, February
18-20, 2005 as part of the Dance Renewal Project's "Crossing"
at
the Cambridge Multicultural Arts Center, Cambridge.
Choreography:
Ahmet Luleci
Costume
Design: Paula Davis Larson
The
award winning choreography Passing
is partially commisioned by Dance Renewal Project.
balkanBLUES
Balkan Blues explores themes of death and rebirth, and
the different reactions people have to death,
including shamanistic perceptions
of death. Mr. Luleci was inspired by recent experiences with injuries
to people close to him, and their subsequent experiences of loss and recovery.
Despite this seemingly
dark theme, the piece features Mr. Luleci's trademark
high energy movements as the dancers celebrate
life and rebirth. The piece
had its premier, January 17-18, 2004 as part of the Crash Art's "Dance
Straight up!" at the Tsai Performance Center, Boston.
Choreography:
Ahmet Luleci
Costume
Design: Paula Davis Larson
The
award winning choreography balkanBLUES
is commisioned by Crash Arts.
eastern
TIDES
Eastern
Tides is the first in Luleci's recent series of pieces that are based
on bringing different cultures
together through dance. Informed by a deep
knowledge of traditional dance forms, Luleci creates modern
pieces that
explore cultural difference and sameness. Eastern Tides compares and contrasts
dances from
Spain, Hungary and Turkey. These dances all feature
a dominant lower body with a softer upper body,
and they are all danced
with a similar fiery, proud attitude.
PART
ONE The opening dance features movements from Hungarian Mekereki and
Verbunk styles
adapted to Afro-Celtic music. With much energy and challenging
dance steps, this dance embodies the
pride and machismo that characterize
many types of traditional dances from the east.
PART
TWO After the intensity of the first dance, we move to a more spiritual
number that represents
freedom of expression. The movements are from the
Turkish Zeybek dance style, and the music is from
an Indipop recording
entitled Out On My Own.
PART
THREE The third dance, based on Georgian and Azerbaijani women's dances,
completes the transi
tion from the high energy, improvisational style of
the hungarian dances to the serenity, grace, and unison
t
hat are found
in many traditional womenıs dances.
PART
FOUR In the final part of the dance we reprise the Hungarian movements,
and show them in the
context of similar dances from Spain and Turkey's
Black Sea region.
Choreography
by Ahmet Luleci
The
award winning choreography easternTIDES
commisioned by Dance Umbrella.
Click
for media reviews and pictures for easternTIDES.
Coast
to Coast
The
inspiration for this piece comes from the history of the countries around
the Black Sea.
This is one of the most contentious and most problematic
regions throughout history, because
there are so many small countries
that are so similar yet so divided. With this work, Mr. Luleci
chose one
piece of music and applied movements from these countries, showing the
underlying
commonalitites of the cultures.
Mr Luleci was inspired by the movements from the countries
such as; Ukraine,
Greece, Bulgaria, Romania, Turkey.
All
American
Breaking
the Rules: Anarchy
in Social Dance
The Original Can-Can This Can-Can was a social dance for couples, quite
different from the later
stage version danced by chorus girls at the Moulin
Rouge. The Parisian students who created this
wild, unconventional style
saw it as a dance of resistance against authority, and used the opportunity
to wear shorter skirts and more brightly colored clothes than society
thought proper.
Rock
and Roll, Jitterbug and Bop One hundred years later, teenagers
were again rebelling against
the rules. 1950s parents wanted a tranquil,
safe and orderly society in which they could raise their
boom of post-war
babies, and didn't care for the increasingly rowdy values and lifestyle
of the teenagers.
The teenagers felt disenfranchised and persecuted, and
they responded by buying millions of copies of a
tune which said "No we're
not going to stop. We're gonna rock around the clock!"
Choreography:
Richard Powers
Appalachian
1 - Originated in the southern Appalachian mountains, this free spirited
dance has strong
ties to British Isles step dancing, African-American
buck and wing style and Native American
traditional
dancing.
Choreography: Judy Erickson
Appalachian
2 - Adaptation of AMAN Folk Ensemble's
Appalachian number,
originally choreographed by Jerry Duke.
Adaptation:
Ahmet Luleci
Anatolian
Mozaik
SILIFKE (
Southern Anatolia) is
a "spoon dance" from southern Anatolia. Locals go to the Taurus
mountain in the summer time to escape from the hot and humid weather.
There they dance, accompanied
by the rhythms they create with the wooden
spoons they hold in their hands. This dance displays hopping
figures well
suited to the mountainousl environment of the Turkmen people of the Taurus
mountains
KARADENIZ (Northern Anatolia) Based on steps that
simulate the movements of the fish and the stormy
waters of the Black
Sea, these dances are well known for their speed and intricate footwork
BOLU
(Central Anatolia) This suite of dances shows a variety
of spoon dances enjoyed on special occasions,
such as weddings, engagements,
and the "kina gecesi" (henna night) - a celebration among the women of
the
two families and the bride's friends prior to the marriage.
ZEYBEK
(Western Anatolia) Stemming from tales of heroism, the
Zeybek style shows the pride, the confidence
and the courage of the Western
Anatolian people.
TRAKYA
(Nortwest Anatolia) Singing and dancing were a big part
of life in Thrace, the peninsula connecting
Anatolia to the Balkans. The
gypsy influence is reflected in these regional dances with diverse rhythms,
steps,
and figures.
ARTVIN
(Northeast Anatolia) This suite is a medley of men's and women's
dances from Northeast Anatolia.
The women's figures, flowing and smooth,
are in clear contrast to those of the men which emulate the ruggedness
of nature in Northeast Anatolia.
BINGOL (Eastern
Anatolia)
A medley in the "Halay" style, this dance is performed by men, forming
a line,
semi-circle, or circle, and holding each other's hands, shoulders
or little fingers. One dancer acts as the leader to
direct the steps,
sometimes even breaking away from the line to perform brief solos.
Traditional. Stage Arrangaments by:
Ahmet Luleci
and
more
EGYPT
Though
oriental dancers are often known for their cabaret style performances,
this Belidi style shows a group of
village women dancing amongst themselves
just to have fun.
Instructed by :
Regina Hancher
ISRAEL
Lyrical, graceful and energetic, these dances reflect the joy and musicality
of israeli dances.
Instructed by:
Sheila Finger
UKRAINE
-
Exciting and spirited, this dance reveals the character and the energy
of the Ukranian people.
Traditional. Stage Arrangemants:
Regina Hancher
SAMARKAND
/ Uzbekistan
This very elegant and beautiful number was originally choreographed by
Leonara Wood for AMAN Folk
Ensemble and adopted for Collage by Rosina
Didyk.
Adoptation:
Rosina Didyk
Music: Omar Faruk Tekbilek
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