What’s far is near for Aspen Santa Fe Ballet | Performing Arts Review | Chicago Reader

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What’s far is near for Aspen Santa Fe Ballet


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Stamping Ground is proof that the world just keeps getting smaller. One of three pieces offered by Aspen Santa Fe Ballet—an American repertory company specializing in European contemporary dance—the 1983 work by Czech-born, Netherlands-based choreographer Jií Kylián honors the aboriginal dance he saw in Australia. But his freewheeling take on the tribal also echoes Monty Python's "Ministry of Silly Walks" sketch and Pilobolus's human pretzels. Performed in silence except for stomping and body slaps, the opening solos gradually turn funny. Later, the dancers cycle through duets and trios that seem even more clownish when accompanied by the drum rolls in Carlos Chavez's percussion score. The other two works on the bill, both commissioned by ASFB, are Red Sweet (2008), by Finnish choreographer Jorma Elo, and Where We Left Off (2011), by Brooklyn native Nicolo Fonte, who spent seven years dancing with Nacho Duato's Madrid-based Compañia Nacional de Danza.

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