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28 Years Of Malashock Dance In San Diego

28 Years Of Malashock Dance In San Diego
28 Years of Malashock DanceGUEST:John Malashock, artistic director, Malashock Dance

this is KPBS Midday Edition I am Maureen Cavanaugh. 28 years into his artistic adventure, John Malashock dance is a brand-new the show signature presents two new dances plus two new dances +2 encore pieces from the bow shock, and easier to to join us to talk about his work and his dance company. Thank you. Signatures, the present production features two new dances. Do you find your new work now different from past choreography? It is. Having choreographed this long now, part of what keeps me interested as an artist, is forging into new territory. And this program has been fun because the four pieces on this program are so different from each other. And some of it feels like work that is not like anything I have done before. B now the two new pieces are called incoming and times remembered and you told our producer the music and desk of times unremembered is like Artest like unlike anything. Let's hear clip of the music. [ Music ] You are right, that is memorable. B it is, is haunting, it is lush and really unique. John, when you approach a new work, what triggers your creativity, is it the music, or the theme of the piece are certain movement? I tend to work out bit about progression from being too music to movement. I need the music to work with to choreographed. But choosing the music is such a key part of it for me. To find something that feels like and says what it says. In a case like this hearing the music inspired me to create a work to it. I can imagine how that would happen. Now there are two of your non--- encore. Choose signatures of the mouse shall company. One of the Princeton is silver and gold. I wonder what makes that to good piece close to your heart. I love storytelling with dance and I love creating characters, and I love the possibilities of duet. True to bodies working together. And the that is what it does. It tells a story of a strange relationship. And it shows two very different sides of it. You must share the fact of the intimacy of this particular dance, in the venue that is is performed. And is part of the very nature of these dances to be shown in this sort of intimate setting isn't it. Well, it is and isn't it silver and gold is a very intimate piece and is very nice to experience it. Dreams and prayers, is work that I had created with our along, a year and a half ago. And it was for big stage. And to put it in this studio. Year center that this account the other with the audience only a few be away for the dancers, it is proven to be a powerful experience. What does it do for peace and for the dancers X on a big stage, you do not have as much sense of the audience, you do not have as much relationship to put in this. Samiti. -- Proximity. You feel the electricity but gone both ways. The audience is aware of everything going on with the answers -- dancers. You will be doing a very different type of these. When you work with the San Diego Symphony in March as an opportunity to see the company in a more traditional sophisticated concert. Do you enjoy creating these more formal dance pieces? Yes and I would not call this formal or traditional in any means. With a full Symphony Orchestra backing you up is not common by any means. So to create a work that will work in the setting, it is exciting. It does sound a bit formal. Yes, it will be in Symphony Hall, the big audience and program is big. Are you going to put out on a suit? No, I do not have to do that anymore. Now the Symphony for this up coming, -- concert. Gabriela Frank. [ Music ] It really does lend itself to movement. We talked about a lot of composers that I might work with and they ended up pairing me up with Gabriela. What we did was chose to gather five segments are movements of her chamber work that I felt was good choreographic potential. And she is orchestrating gift for the Symphony. John, you came to San Diego after a career with Twyla Tharp's company New York. What is the goal of your company here and your dance school? The goal is to keep being able to present unique, new work. I love collaborating with other artists other organizations. And with the school, is to give people the opportunity to experience dance in a way that is very accessible, peeling, and involves them. Has it been difficult here in San Diego, is it something as a real dance town or hasn't been difficult to maintain a dance school in the company? All there is no question that there is a challenge. Real pluses and minuses ace in San Diego I feel like I've built a great opportunity, or the dance building that we are in now at liberty station is a wonderful facility. It is hard everywhere. It is a tough artform. And I love it. Okay, how should someone who is not familiar with dance performers, how should they look at it? That is equate question -- great question and I encourage people, people who are not familiar with dance, they come into the theater and they are scared that they won't understand what is going on. And people do not do that with you sick. They come in -- you sick music. They do not have to overthink it. And that is my goal when an audience comes in, not to feel like they are coming in with fear. It is beautiful work, beautiful music, and you do not have to stress over it. Yes, just keep your eyes open to experience it hurt it runs Thursday through Sunday at the mouse shut dance studio at liberty station and I have been speaking with him think you so much. Thank you Maureen

When John Malashock came to San Diego in the 1980s, he was still dancing for other people. That didn't last long.

Leaping forward to 2016, Malashock begins the 28th season of his company, Malashock Dance, with "Signatures," four dances he choreographed. Two are premieres; two are favorites.

By the time he arrived here, he already had a hefty modern dance resume. He had enjoyed a performing career as a prominent dancer with Twyla Tharp, appeared in the movie "Amadeus" and performed in many television specials.


That's pretty impressive on anyone's dance card. But when one reads that he "performed in numerous concerts with Mikhail Baryshnikov," that raises "impressive" to another level altogether.

Becoming his own master in 1988, Malashock was artistic director, choreographer and star dancer for the fledgling Malashock Dance. When the company moved from the creaky environs of Balboa Park's Casa de Prado to the miraculous accommodations at Liberty Station's Dance Place in 2006, there was room for a school. So he started one.

Both John Malashock and the school are going strong at Dance Place, so far winning the never-ending, sometimes all-consuming battle for funding. And as he starts this season of innovative modern dance programming, which includes his first collaboration with the San Diego Symphony, he is perhaps breathing a little easier.

Malashock joins KPBS Midday Edition on Wednesday to discuss his wide-ranging career.