BWW Interview: The Architecture of a Gesture - Daniel Gwirtzman at BAM
Over the past eight weeks the Daniel Gwirtzman Dance Company has been celebrating its 15th birthday with a dance film series that encompasses the spirit and breadth of the Company's work. From site-specific vignettes, to the exploration of relationships between dancers and their environments, each film serves as a narrative of Daniel Gwirtzman Dance Company's creative prowess.
The celebratory film journey began with a series of films "For the Camera," showcasing Gwirtzman's versatile approach to choreography. The first five films in the series, which are available on YouTube, explored on-location influences-from the bustle of Grand Central Station, to the exploration of an abandoned barn through movement. Series 2, "Made in Brazil," a collection of five dance film premieres, takes Gwirtzman back to Brazil 10 years after a fellowship which presented him an opportunity to travel and work in Bahia. These films depict Gwirtzman's intimate journey through the landscapes and people of Brazil.
"It was about time and space. A rejuvenation, through topography, through weather, but most importantly through the people," Daniel says.
The "Bahian Time," Gwirtzman explains, gave him the depth of breath to explore new movements through an "eloquent joy," a time of reflection that turned out to be a celebration of what Gwirtzman has been doing for the past 15 years - bringing people together through dance gestures.
"Energy, energy, energy," he declares. Gwirtzman's work explores the dynamics between people through abstraction of movement. It is a search for a human essence in the aesthetic, never just form for form's sake.
The sense of community is a recurring theme in his work and films. In the series there is a film called "Into the Streets." Filmed during historic protests over economic crisis, Gwirtzman and a cast of Brazilian dancers took to the streets of Salvador "in a peaceful response to the violent uprisings."
"It was an act of solidarity," he explains. This emphasizes Gwirtzman's mantra that "Dance is for everyone."