Jim Lewis Honored at Ellen Sinopoli’s 25th Anniversary

Lewis Honored, Sinopoli Celebrates 25th Anniversary

Sunday October 3, 2015 At The Egg

Tonight The Ellen Sinopoli Dance Company is celebrating it’s 25th Anniversary with a performance at The Egg.  They are dancing highlights from a long and productive run as Resident Company at New York State’s flagship performing arts venue.  Ellen, known for collaborating with artists and performers, will call them out from the stage as their piece is performed.

Ellen collaborated with Jim Lewis of Springwood Studios (formerly Icarus Furniture) on her first full-evening suite, From The Mind/ Of A Single Long Vine/ One Thousand Opening Lives.  It opened to a sellout audience in Spring 2002, and was performed at Albany Institute of History and Art in part when the carved pieces were selected for the Hudson Mohawk Regional that same year.  The company will perform the second dance of the suite, Marriage Bench.

The Collaboration Started in Spring 2001

Mother (Kim) gazes down at sleeping Child (Yokiko)

Mother (Kim) gazes down at sleeping Child (Yokiko)

Looking back, a lot of it came from our joint feelings about 9/11, later that year

We wanted to work together, and looked for a way to make that happen.  I showed Ellen a book about traditional African seats—  sculptures every bit as primal and elegant as the best of Shinto design— and she told me how she saw them scattered across the stage, each telling its own story.

It ended up being a tale about a village—  a girl coming to age and setting off to see the world, followed by courtship and marriage (not hers) and family life.  It follows a child playing, then tragedy.  The village tears itself apart in chaos and grief, killing the child.  A Shaman calls on the Gods to give them the tools to pull together, and after the healing the girl returns home and joins the ongoing live.

The Bench figures prominently in the dance

Amy starts the confrontation by staring down Kim

Amy starts the confrontation by staring down Kim

Nut (pronounced ‘Noot’) as protector of the family

The story is told on and around carved sets based on traditional African seats.  Central to them all is the Marriage Bench, a two seater based on Nut, Egyptian Goddess of the sky.  She is traditionally shown arching over the world, protecting it as she watches over all.  While she nurtures the whole world instead of just two, there is a resonance with the protection of the she-wolf traditionally shown guarding Romulus and Remus, founders of Rome.

After calling on Spirit, the Shaman assembles the Throne and calls for healing.

After calling on Spirit, the Shaman assembles the Throne and calls for healing.

Deb Rutledge played the Shaman (or ShaWoman, as Jim called her)

The little girl’s dead body had been carried out on a bier.  Later it resurfaces as the back of the Shaman’s Throne, with a skull carved on the rear, called in as the Shaman petitions the Gods for healing.  In the course of the dance, the throne is assembled from bits scattered around the stage, fragments of the tribe’s former happy times.  It always brought goosebumps to my arms as Deb climbed atop the throne and called in Spirit—  An extraordinarily powerful moment in an extremely potent performance.

It takes a lot of work to re-mount a dance, especially as the original dancers leave the company.  While parts of Vine have been performed many times (as one will be tonight),  and been teh subhject of many dance classes through Arts In Education programs, the 75 minute suite has only been performed about six times in its entirety. As such, it is one of the most successful pieces in Ellen’s repertoire, and Jim’s all-time favorite project ever.

Try to make it tonight—  ALL the pieces and performances will be wonderful!

Transition Troy

transitiontroylogoTransition Troy

Want to make Troy a better place? So many things are happening here…ever wonder why? Because so many people care enough to make the place we love even better.

That’s why there’s a push for cheaper solar, for art in the streets, for managing our waste stream and recycling.

Check out Transition Troy and make a difference!

Friday Night Tip: Mundo Nuevo Live at Carmen’s Cafe 198 1st St. Troy corner 1st and Adams

MundoNuevoFriday Night: 8/22/2014
Mundo Nuevo

Mundo Nuevo Returns to Carmen’s
The best in Latin music, plus the best in Cuban food!

Shows @ 6 & 8, $5 cover each

Tapas Specials: Friday night, and maybe over the weekend too

Tilapia over saffron rice w/ garlic-wine sauce

Cubano Sandwich by popular demand— pork, ham & swiss w/ mustard & pickle on Cuban bread


Pernil Pork, slow roasted for 14 hours…served with arroz con gandules. that’s herbed rice with
pigeon peas

Music This Fall: Who Plays When

Sensemaya – 9/19
Mundo Nuevo – 10/24
Elizabeth Kasius & Heard– November TBD
The Nellies – Victorian Stroll
Mundo Nuevo – 12/19


Meet the Artist: Francelise Dawkins—Collages

Thursday August 7th 5-8pm at Carmen’s Cafe 198 1st Street, Troy NY (corner First and Adams)

Francelise Dawkins—Meet the Artist, discuss her work.

Since she was a young girl, Francelise has collected fabrics. As an artist, she snips and sews collages— sometimes figural, sometimes abstract. Meet her this Thursday, Aug. 7, from 5-8 pm and discuss her work over Tapas and Sangria.

Yes, we’ve done it again, Carmen’s has scored another amazing artist and is showing some of her best and prettiest work. It’s the perfect time to take some home with you— at Carmen’s we don’t charge the artist a commission, so all proceeds go directly to Francelise.

First Time! Besides serving Tapas Samples, we’ll be serving Tapas Dinners! Limited selection, but if someone should, say, ask for an authentic Cubano Sandwich – we’d be happy to oblige!

Online Portfolio

Francelise Dawkins

“Collages, whether made of words, paper, objects or cloth, have always been my means of expression. In 1988, I first coined the term “Silkollages” to introduce my meditative concept in textile collages to interior designs. Then in 1992, I added “Ethnikollages” to re-activate cultural interests. My collages are either embroidered into miniature quilts, or framed into window boxes. When large and three-dimensional, they become hanging art quilts or soft installation pieces. Abstract or representational life forms as dancing shapes seem to multiply in my work. I draw them out of colorful cloth from Asia, Africa and Europe to visually create a blurring of boundaries between such cultures. As a collage maze is formed, the viewers are invited to enter it. If my playing on fabric brings the viewers to rethink the multiplicity expressed, an expansion of their own true awareness might occur. What I seek is an element of uncensored, emotional surprise, beyond multicultural reality. I am on a spiritual exploration, deepening my sense of what it really means to belong to the human race. It is about exploring that sense of oneness, born out of welcoming the difference we are.”