Tipping Point is a large-scale contemporary dance piece in which Gregory Dolbashian’s merry band of altruistic outlaws will perform a public act of connection, forging bonds between otherwise disparate people. This piece is just the beginning of The DASH Ensemble’s latest venture. We see that the majority of concert work that currently exists often employs only small groups of dancers, despite the number of highly trained and talented dancers living in New York City. Tipping Point will begin to address this problem by offering a large group of dancers consistent employment over a rich and extended period. Ultimately, the Tipping Point project will serve as a launchpad for us to create a new employment structure for the professional dance community.
The Re-Up is a full company work that is constantly changing. The piece can be expanded to fill an evening or can be broken down to fit smaller performing slots. Every time we perform this work we change it and "re-up" it. It features highlights and extractions from other DASH works, but also always contains new ideas and surprises appropriate for the space or setting we are performing in. This video is from our most recent Re-Up performance at SummerStage in Central Park.
DASHOW is an evening length work for the entire company that incorporates dance, theater, and storytelling. DASHOW is anarrativedance work thatoffers an eclectic accounting of a newuniverse painted with texture and intimacy thatevokes a universally personal experience oftransitioning toadulthoodfromchildhood,as well asinterpersonalrelationships,laughter, love, loss and redemption.
Pluck was first premiered in November of 2013 at The NuDances Festival at The Riverside Church Theater. It later evolved to be a part of The DASH's cumulative work known as "The Re-Up". Pluck looks at the necessity of self-encouragement in your pursuits of ambition, love, and war.
On Blast premiered at The NuDance's Festival in December 2012 at Riverside Church Theatre. It is choreographed by Gregory Dolbashian. Music is by Johan Johansson, Clams Casino, and Olafur Arnalds. Lighting is by Burke J. Wilmore.
This recent piece wascreated for a 2012 debut at The Skirball Center as part of The Dance Gotham Festival. This is the DASH's second piece for all men. Inspired by personal experience within my family background, the piece looks at the simple idea of what would we look like if we really fought hard all the time for what we want in our gut. Choreography is by Gregory Dolbashian, with music by the Chromatics and David Wingo, and lighting by Burke J. Wilmore.
Like the eagle is a physicalized examination of what it takes to be inspired and create. It premiered at the Joyce Summer Sampler Series in June 2011. Costumes by Christopher Vergara. Music by NPR's Radiolab, James Monroe, Godspeed You Black Emperor, Marsen Jules, and Tim Hecker.
SUNDOWNING is the 2009 Joyce SoHo debut production of the New York-based contemporary dance company, The DASH Ensemble. The evening length work is comprised of several highly physical chapters that blur the line between the rational and psychotic mind. The concert takes its audience through a daring display of deep connections between its characters and the connections they make within themselves through both real and imaginative circumstances. The term “sundowning” refers to a state of confusion at the end of the day and into the night, often leading to a state of increased agitation, activity and even borderline demented behavior. All types of agitating behaviors are forms of communication. The company uses this phenomenon as a platform to display a broad abstraction of self-realization showing that no matter how far one’s mind can take him outside the realm of what is deemed “real,” a person can and will obtain a very real and tangible result in his own development. Music by Max Richter, Colleen, Daedalus, and Peter Broderick. Lighting by Burke J. Wilmore, and costumes by Gregory Dolbashian.
This piece was created for Dance Theater Wokshop’s 2009 SummerDANZ festival as part of the Emerging Choreographers portion of the festival. The piece is designed to be an examination of the tumultuousness of maturation. The ensemble functions as one voice, one mind, one body, going through an intense and dark process of settling with who and what it is becoming. It is about identifying the changes that occur within us as we grow and deciding if we want to embrace,reject, or just flat out succumb to who and what we have become. Music by Max Richter and Nick Cave, lighting by Burke J. Wilmore, costumes by Gregory Dolbashian.
Choreographers Sidra Bell and Gregory Dolbashian came together to create a two-chapter work of contemporary dance inhabiting the entire ground floor of the Gershwin Hotel. With extreme physicality and vibrant personality, the work pushes the limits of traditional performance, brining its audience very closely into a world of intense relationships and daring movement. The piece exists in every possible corner of the space and provides multiple perspectives for its viewers thus making it a unique viewing experience for each individual audience member, as they surround this incredible movement habitat and are pulled in to share the impact and experience of the performers. All of which is enhanced by the wonderful surroundings provided by the hotel. Music by Disastrato and Zoe Keating. Lighting by Gregory Dolbashian and Daniel McArthur.
Paper Crane Gang premiered November 2008 at the Reverb Festival in Ailey Theater. Music by Daedalus and Hans Otte. Lighting by Burke J. Wilmore, and costumes by Gregory Dolbashian.
From Greg: "This piece is full of firsts for me. It is the first time I have been enable to incorporate live speaking from the dancers, the first time I have really tried to expand my movement vocabulary. The first time I have been able to successfully create a fully improvised section, and the first time I have been able to use a prop. It was also the first time that I had very little premeditated in terms of movement before we rehearsed. It was a much more collaborative process, working in the moment with my dancers, and I loved the result it gave me. We talked so much about the importance of putting your concentration on the preparation of something as opposed to its result. The motive being that if your approach is flawless; your result will be exactly what you want from yourself. If you skip that approach and try to go head on into the result, that is when we become confused and disappointed about how we are achieving. My idea for the dance came from a form of Japanese floral arranging and pruning. The point of interest for me being that each flower is independently planted and then after they have all gotten their roots down, they are cut in a way so that each can grow fluidly and fully in around each other. I thought this was a tremendous metaphor for one’s maturation process in life. I also thought with this delicate idea of flowers and their aesthetic, it would be very great to examine that with an all-male cast dancing and see if we could find that same sensitivity within strong, hard physicality. I fused those principles with this idea of a fraternity, a gang, and the bonds and rituals and dangers that come with that kind of life. It made for a most rewarding and exciting process."