CELEBRATING Kathryn Roszak/Danse Lumiere- 
AUDIENCE AND CRITICAL PRAISE FOR OUR PERFORMANCES:

“The choreography moved me at the deepest levels, communicating the continuity that all life shares, in ways words can never say.  I found myself thinking over and over that this should be seen in Washington, New York, Los Angeles, and all the places in between.”  Justine Toms, New Dimensions Radio.

 “Roszak has an important concept., that human beings are part of the dynamic web of life, related to and inseparable from rock, one-celled animals, the force that moves the sun and stars.”  Ariel Parkinson, The Berkeley Voice.

 “Deep North suggests that a universal culture can emerge from a melding of cultures.  Fine dancers with exceptional projection.”  Anna Kisselgoff, The New York Times.

 “Brave new art forms are required now, if we are to awaken to our mutual belonging.  This work has what it takes-- a rare blend of meticulous skill, limitless creativity and passion for our living world..”  Joanna Macy, author.

 “The Mathematics of Life is an absorbing and thrilling work.  Mathematics and art, so long held apart, flow together at last in one profound explosion of beauty.”  Brian Swimme, physicist.

 “The interpretation of ancient myth is wonderfully unique.  I’m glad we can incorporate dance as part of the program.”  Melody Curtis, The Smithsonian Associates.

 “In the end it will not be governments and politicians that restore our sustainable relationship to nature.  It will be our expanded consciousness awakened by the tireless efforts of such as Kathryn Roszak.”  Peter Kelsey,  EcoStewards Alliance, Washington D.C.

REFLECTIONS ON OUR REPERTORY FROM KATHRYN ROSZAK, ARTISTIC DIRECTOR:

When we presented Anima Mundi at Grace Cathedral, it was great to see Native American musician Mazatl Galindo chanting, and verger Lori Lamma censing the cathedral before the performance.  We really felt that the production brought two worlds together; the dancers and musicians celebrating the earth, and the spirit of Grace Cathedral.  Something magical took place within the Cathedral.

Deep North was extraordinary.  We travelled to Arctic Norway to meet with and study the culture and place of Sami people.  I will never forget dancing in the Arctic tundra among the birches and petroglyphs of those high northern climes.  The culture we experienced was amazing in its raw power and beauty, matched only by the northern lights.  We felt we created something totally new, a ballet about this special place on earth created with international artists. It was an honor to perform at La MaMa in New York.

Celtic Fire was created as an antidote to Riverdance.  It was a tiny performance for one dancer and one musician in the atmospheric old post office at Marshall, California.  Combining traditional Irish music with contemporary interpretative dance was new.  I wanted to show the complexity and organic flow of Celtic patterns.  It dealt with loss.  But it also dealt with celebration.

Mathematics of Life came into being at the Copenhagen Cultural Festival where we were invited to collaborate with scientists and perform at the Kettlesmith Factory.  After hearing Francoise Chatelin's poetic paper on math, we were captivated.  I wanted to create an Alice in Wonderland type of exploration of math that was playful yet deep, and brought forth math's illumination of the natural world.

In 1997 we brought a selection of powerful environmental dances from Anima Mundi to Washington DC.  We were invited to perform at the Smithsonian Institution and George Washington University.  Following this we spent a spell-binding four days at Frank Lloyd Wright's Taliesin West where we performed in an architect designed tent out in the desert under the stars as part of a Celebration of Organic Architecture, Taliesin’s 60th anniversary event.

Last year ‘s Pensive Spring delved into the pyche and soul of Emily Dickinson.  It also featured nature as a major character in her poems.  Emily was played by an actress, a singer and a dancer.  The piece felt delicate, yet spun on an inner strength.  It dealt with Emily’s pain, particularly as a woman artist ahead of her time. Performed at several Bay Area theatres, my favorite show took place in the tiny Il Teatro 450 in downtown San Francisco on a rainy night.  Here the piece just seemed to spring to life.

Mountains and Rivers Without End has many magical moments.  As dancers we can feel the power in actor Bob Ernst’s Tibetan throat chant.  Gary Snyder’s poetry seems to create landscape after landscape both mythical and real.  It feels like the essence of California, with a distinctly Asian influence, all creating something really ancient, mysterious and yet of the present.