‘Unnatural Surrounding’ Brooklyn Ballet Fundraise for Immigrant Artists at Fotografiska New York
Dance, especially ballet, and the visual arts have nurtured each other as art forms—artists have often been contracted to create sets or costumes for ballet productions. The celebrated Belarusian-French painter Marc Chagall created the set for New York City Ballet’s production of Firebird which premiered in 1949, shortly after he left New York. Chagall spent seven years in the city having fled Europe during World War II. The founder of New York City Ballet and its artistic director for 35 years, George Balanchine, was a Russian emigré. Today, the dance profession has a large population of immigrant dancers. In 2018 Dance/NYC Alliance found 205 organizations with programs to support immigrant dancers to obtain visas—Lynn Parkerson, founder of Brooklyn Ballet, is one of them.
On November 22, Parkerson co-introduced an event co-organized by The Immigrant Artist Biennial and Fotografiska by applauding her immigrant dancers who take classes and dance with her company which has brought ballet to more diverse audiences for over 20 years. The newer organization TIAB, which is fundraising for the second edition of their biennial, platform the work of immigrant visual artists. Their co-curator and associate director Anna Mikaela Ekstrand impressed the importance of organizations understanding the plight of immigrant artists and creating processes to support them with the necessary paperwork to obtain the most common artist visa, the O1 visa, when applicable—letters of recommendation, exhibitions, and employment letters, for instance. Gaining access to this behind-the-scenes work of art and dance organizations in New York was eye-opening.
Against the backdrop of Utopia Process (2018) a video piece by TIAB alumni artist Chen Wang dancers Aoi Ohno, Bobby “Anime” Major, ChrissyAnn Carpenter, and Ladell “Mr. Ocean” Thomas performed Unnatural Surrounding. The piece, choreographed by Parkerson, combines classical ballet elements with modern dance. Classically trained Ohno (Ailey School) and Carpenter (who has performed Balanchine’s choreography) both skillfully danced vibrant classic duets while Anime and Mr. Ocean brought the fundamental aspects of popping (hitting, robotic dime-stopping, joint isolations, strobing, and ticking) as well as flexing to the stage. Erasing boundaries between high and low this marriage between classic ballet and contemporary dance centers on freedom of expression by beautifully highlighting the capabilities of individual dancers and their interests rather than strict doctrine. For an event celebrating immigrants, this focus on breaking down barriers was astute.
The evening, titled “Art, Cocktails, Conversation, and Dance” was jampacked with activities. Guests were encouraged to arrive early to see Fotografiska’s blockbuster exhibition make BELIEVE featuring work by David Lachapelle who is known for his elaborate theatrical and stylized portraiture and mise-en-scenes. Alexandra Goldman, Fotografiska’s Director of Membership, explained that Lachapelle often uses dancers as models and is inspired by their work. After the performance guests were invited to stay and enjoy drinks and to mingle with each other and the organizers. At the event, TIAB’s development officer Laura Day Webbt told me it was their most successful fundraising event to date. Stay tuned for Brooklyn Ballet’s Nutcracker which will open next week and TIAB’s second biennial opening across New York and New Jersey in fall 2023.
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