EKSTASIS
- Original choreography by Martha Graham
- Reimagined by Virginie Mècené
- Danced by PeiJu Chien-Pott
- Presented by PeiJu Performing Arts
Ekstasis (1933)
Ekstasis, believed to be Martha Graham’s 37th choreographic work, originated from a single gesture: a thrust of the pelvis. In a 1980 interview, Graham reflected on the moment of discovery, describing how it opened a pathway into what she called “a cycle of distortion”—a deeply personal exploration of movement and form. “Before Ekstasis, I had been using a more static form, trying to find a ritualist working of the body,” she said.
This enigmatic solo from 1933, long thought lost, was reimagined by Virginie Mécène in collaboration with PeiJu Chien-Pott, drawing from the sparse surviving documentation—just a few evocative photographs by Soichi Sunami and Barbara Morgan.
PeiJu Chien-Pott’s performance of Ekstasis earned her the prestigious Bessie Award for Outstanding Performer, cited “for bringing to life a lost Martha Graham solo from 1933, masterfully inhabiting the earthy, percussive, and fluid movements of pelvis and torso, and embodying the very essence of Graham’s ecstatic vision.”
Swan Lake – Act II / White Swan Pas de Deux (Adagio)
- Choreography: Marius Petipa
- Odette: Maria Kochetkova
- Prince Siegfried: Alban Lendorf
- Violin: Niklas Walentin
- Cello: Jacob la Cour
- Piano: Alexander McKenzie
The White Swan Pas de Deux from Swan Lake, Act II, is one of the most iconic and emotionally profound moments in classical ballet. This adagio unfolds as Prince Siegfried encounters Odette, the enchanted swan maiden, by the moonlit lake. The duet is a mesmerizing blend of ethereal grace and tender longing, capturing the fragility of Odette’s curse and the prince’s growing love. Characterized by fluid, weightless movements, and intricate lifts, the choreography demands exceptional control and lyricism from the dancers. Maria Kochetkova, as Odette, embodies sorrow and vulnerability with delicate, expressive artistry, while Alban Lendorf’s noble and powerful presence as Siegfried provides the perfect counterbalance. Their interpretation of this timeless pas de deux brings to life the poignant beauty of Tchaikovsky’s score, evoking a dreamlike atmosphere of melancholy and hope.
Ave Maria
- Choreography: Igal Perry
- Music: Franz Schubert
- Dancer: Anthony Rhee-Reynoso
- Violin: Niklas Walentin
- Piano: Alexander McKenzie
Ave Maria was originally choreographed in 1997 for Gen Hashimoto, as part of a scholarship workshop at Peridance Center. The work was later reset on Eric Hosington for a presentation at the Duke Theater in NY, and in 2001 was danced by ABT Principal dancer Jose Manuel Carreño as part of Peridance’s 21st anniversary season. Ave Maria has been performed in Gala evenings around the world including at Citi Center in New York and at the VII Gala Internacional de Ballet de Buenos Aires in 2017.
After the Rain
- Choreography: Christopher Wheeldon
- Music: Arvo Pärt
- Dancers: Annette Buvoli and Harris Bell
- Violin: Niklas Walentin
- Cello: Jacob la Cour
- Piano: Alexander McKenzie
Premiering in 2005, “After the Rain” is a two-part ballet renowned for its poignant pas de deux set to Arvo Pärt’s “Spiegel im Spiegel.” The duet, performed on a minimalist stage, captures a tender and introspective dialogue between the dancers, embodying themes of love, loss, and reconciliation. Wheeldon’s choreography is celebrated for its sublime simplicity and intricate partnering, creating a meditative atmosphere that resonates deeply with audiences and brings Tchaikovsky’s haunting score to life.
Neue Bahnen (2022)
- Choreography: Tobias Praetorius
- Dancers: Alban Lendorf and Emilie Willert Palsgaard – courtesy of Royal Danish Ballet
- Music: Johannes Brahms, Adagio from Trio in B major, Op. 8
- Violin: Niklas Walentin
- Cello: Jacob la Cour
- Piano: Alexander McKenzie
“Neue Bahnen,” translating to “New Paths,” is a contemporary ballet exploring the profound connection between music and movement. Choreographer Tobias Praetorius draws inspiration from Brahms’ emotive Adagio to craft a duet that delves into themes of transformation and introspection. The piece showcases the dancers’ ability to convey deep emotion through nuanced choreography, reflecting the music’s poetic depth.
RUSH FOR FULL
- Choreography: Julian Nicosia
- Music: Michael Anklin & Janiv Oron
- Dancers: Maria Kochetkova and Sebastian Kloborg
“Rush for Full is a dynamic exploration of the human drive for completion and fulfillment. It captures the relentless pursuit of “more”—more achievement, more connection, more meaning—often at breakneck speed. Within its intensity lies a duality: the exhilaration of progress and the chaos of excess. The piece examines how striving for fullness can simultaneously elevate and overwhelm, leaving us to question what it truly means to be complete.”
RE SENZA TITOLO
À la Fin Tout Ira Bien – The Artwork of Brice Esso
- Choreography and Concept by Rena Butler
- Performed by Alanna Archibald & Tamara Fragale
- Scenic Design and Concept by Brice Esso with the support of THE PROJECT SPACE (Annalisa Bugliani Arte)
- Scenography Art Curator: Annalisa Bugliani
- Music by Darryl Hoffmann & Violetta Zambetti (Z Sauce Music NYC)
- Artistic Producer: Adria Ferrali
- Executive Producer: Sara Tartaglia
A world premiere showcasing a unique collaboration—a compelling fusion of movement and visual art—between choreographer Rena Butler and artist Brice Esso.
Inspiration
Rena Butler’s new work for the DAP Festival’s Annual Gala 2025 is a collaboration with African artist Brice Esso. Inspired by Rick Moody’s short story Boys, Butler reimagines the coming-of-age narrative from a female perspective. The performance explores themes of constant flow, synchronicity, dissonance, and the tension between internal and external landscapes. It reflects on human connection and detachment, questioning when we lose our childlike curiosity and how we navigate life’s continuous transformations.
Concept
The performance unfolds within Esso’s sculptural and interactive installation, À la Fin Tout Ira Bien. This three-dimensional metal framework embodies fragility, renewal, and the interplay between permanence and impermanence. In Esso’s words: “The installation embodies hope as a guiding force, symbolizing resilience and light amid uncertainty. I’ve worked to integrate the themes of cultural identity, childhood, and transformation into this single cohesive piece.”fe the poignant beauty of Tchaikovsky’s score, evoking a dreamlike atmosphere of melancholy and hope.
The Soundscape
Darryl Hoffman and Violetta Zambetti (Z Sauce Music NYC) create an evocative sonic landscape that blends electronic textures with organic elements. Their score extends the dancers’ physical and emotional journeys, heightening the piece’s rhythmic pulse and immersive depth.
