Peridance Ensemble
by Chriselle Tidrick

View Peridance in action in Real Video.

Part I.  Peridance Ensemble: In the Spotlight

The movement style of the Ensemble is remarkably varied.  In fact, the December program includes dance influences from such diverse sources as classical ballet, modern, and hip-hop.  Reflecting on this, Igal Perry states, “I think it’s good and bad, because some people look at it as not having an identity— a style.  For me, that is style— the style is about being eclectic and being able to express different ideas through different mediums and not strictly the same kind of movement or the same kind of dance.”  This, however, presents an interesting challenge for everyone.  Mr. Perry must find dancers who can adapt to a variety of movement styles, and the dancers must push their boundaries to perform well in works that are so strikingly different.  The key seems to be that Igal Perry recognizes each dancer’s strength and plays to that.  Jessica Lang refers to this saying, “Everyone has a quality to give to this.  We’re not all the same by any means, but we do all have our special moment of what we are good at, and Igal has recognized that.”  Joseph Gilliam says, “It’s because he [Igal] is using these people from all these different backgrounds, and I know some of that is cultural as well as just dance backgrounds.  Definitely a valuable aspect.”

Another trademark of the Peridance Ensemble is Mr. Perry’s incredible musicality.  One glimpse of Bolero in rehearsal reveals that the dance is exactly what the music is.  This signature work is not a simple parody of the music, however.  Rather, the movement is an expression of the music.  Thus, both music and movement work together as honest, equal partners.  Jessica Lang recognizes this by saying, “Musically, I’ve never met anybody who can hear things that he does.”  Kathleen McNulty later adds, “Someone who couldn’t hear music . . . would just have to watch this dance [Intimate Voices] and it’s the visual interpretation of what the music is doing.”  Mr. Perry explains it this way, “Musicality is a sense.  It’s rhythm.  It’s a dynamic understanding of music and movement and space and time and all of that.”  Not surprisingly, he typically choreographs in response to music that inspires him, allowing his ideas to grow out of what he hears. 

Still, one of the most strikingly unique things about this company is not their style or technique.  It is the way they work together.  Although the dancers find Igal Perry’s work to be physically and emotionally exhausting, they all seem to be very satisfied with their working environment.  Says Kanji Segawa, “It was my honor to come to work on Sunday,” a day of rehearsal that was not included in the dancers’ contracts.  This alone captures the dynamic between the choreographer and his dancers.  Across the board, the dancers mention that they feel comfortable, respected, and free to express their own ideas.  Joseph Gilliam comments, “It’s great working with a man who is so compassionate— compassionate in general and compassionate regarding his dancers.  And respectful.  That’s such a major thing.”  David Kieffer concurs by saying, “Igal is very kind, and he’s very intelligent, and that makes it very easy to work for him . . . besides the fact that he is patient.”  Mr. Perry also comments on the atmosphere he needs in order to work effectively.  He says, “She [Elizabeth DeMent] says that the reason she likes to work with me is because I respect the dancers, and it’s very true.  I mean, that’s how I can work.  I need to be able to respect the person I work with.  For me, it’s not ‘you’re working for me and do what I tell you or else.’  We need to have an exchange and an understanding, and I need to respect the dancer in order to be able to create together.”  

Where will all this lead for the Peridance Ensemble?  The future is still a mystery.  Despite all the hard work that has gone into preparing this performance, Elizabeth DeMent points out, “There’s no guarantee that this will lead to anything, which is really sad because we put our hearts and souls into these three months.”  Jessica Lang continues, “And he has, and he has created so much work.”  This is yet another difficulty for dance companies that are not widely recognized.  There are no guarantees of future performances or future contracts.  Still, the dancers are optimistic.  Jessica Lang says, “I hope that this is the beginning of something for him, because he should be ‘on the map.’  He shouldn’t be just doing one show every once in a while.  He’s super talented.”

© Photographs courtesy of Peridance Ensemble

Next: Part II.  Performance

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