It opens in blue, a haunting, timeless, ethereal blue, the kind of bluethat reminds you of dreams. Center Stage amid all this blue light stand three dancers with their backs to the audience. They are of similar height, comparable build and dressed in matching costumes of baggy white pants and simple white tops. The music begins, a crackly, haunting ditty spoken (sung?) repeatedly:“Jesus’ blood never failed me. Yes, never failed me. Yes, Jesus’ blood neverfailed me. This one thing I know, for he loved me so.” The dancers move in rhythms and motions reminiscent of the tide coming in and going out. Then they turn and a flash of black — a small apron, a square of loincloth — jars the trance-like mood and the stainless impression. This hard edge draws the attention in just the same way the dancers’ precise movements emphasize their repetition. It is odd. It is awkward. It is also poetic.The 2011 season of Bard SummerScape has opened. The Tero Saarinen Company, the celebrated modern dance company from Finland that has won numerous international awards since its founding in 1996, gave four performances at Bard over the July 7-10 weekend, the only stop in the United States on its world tour. The company presented a triple bill of some of its most notable dances: “Westward, Ho!” their debut signature from 1996; “Wavelengths” (2000), a reworking of Ravel’s “Bolero”; “HUNT” (2002), a stunning solo conceived and danced by the troupe’s founder, Tero Saarinen, to Stravinsky’s“The Rite of Spring.” And an unexpected bonus: the award-winning lighting by Mikki Kunttu which really is every bit as spectacular as Saarinen’s choreography. “Westward, Ho!”is an odd little piece for three dancers. Built aroundrepetition and simple, stark movements typical of much modern dance of a certain genre, “Westward, Ho!” slowly develops a theme about individuality versusgroup sensibility or even dogma. The playbill describes the dance as anexploration of “friendship and betrayal – a stoic struggle for survival.”It is odd musically as well as visually for it is awkward even as it lullsyou or disturbs you. Saku Koistinen, Pekka Louhio and Heikki Vienola dance“Westward, Ho!” with an ease that belies the difficulty of Saarinen’schoreography. The prone inching across the floor, the expansive armmovements done in sync are easy examples to recall of demanding choreography that only looks easy. “Wavelengths,” however, is lyrical where “Westward, Ho!” is self-conscious. It is exciting in that it is a traditional pas de deux with a contemporary perspective on love and the struggle to maintain a sense of self. Thedancing by Henrikki Heikkilå and Sini Lånsivuori is beautiful and powerful. The use of shadows to intensify and distort is equally effective. Thelighting moves from cool, neutral white to a black background to a richorange, an interesting palette for the drawing close and pushing away ofattraction. Costumes by Erika Turenen are simple, Continued from page 10loose, and spare in bland colors. The backless cut of Turenen’s top and the merciless spotlight on the dancer’s sinewy back underscore her strength and seeming delicacy. It is sensual and oddly modern. The best piece out of an evening of strong, stunning dance, however, wasSaarinen’s solo performance in “HUNT.” While Saarinen typically uses light and shadow the way others use set and costume, this is pushed to extremes in “HUNT” as Saarinen uses his own body as a canvas for an internal light show as well as strobe lights to create a host of images and effects that have everything to do with lift and loft as much as a frenzied beating of wings,or a gasping breath for life. The 45-minute solo is visually astonishing and conceptually beautiful. It gathers radically different elements and weaves them together to present this final work of physicality and vision. In many ways, Tero Saarinen at SummerScape was “classic Bard,” an evening of the excellent as well as the esoteric. If the gift of dance is in the way, its sheer physicality can take audiences to unexpected places. The TeroSaarinen Company delivered twofold: first, in the way it stretches expectations of dance; and finally, in the stunning way it takes its audience to new places.
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The organic runway at HVSFW puts sustainable style among the apple trees at Stone Ridge Orchard.
Jay Ballesteros
That’s the question behind Hudson Valley Sustainable Fashion Week[end], a two-day celebration of sustainable style, local makers and the possibilities of keeping clothing in circulation. The weekend lands at Stone Ridge Orchard, a 200-year-old working farm, on Sept. 25 and 26, pairing an evening fashion show with a new all-ages Slow Fashion Fair.
“To me, slow fashion means intentional fashion. Careful, thoughtful, human,” said Joanne Louis-Paul, the event’s communications director. “Slow fashion is the speed at which one person can sew an intricately detailed dress. It’s taking the time to go to a thrift store or clothing swap and sifting through an unknown bounty of possibilities. It’s extending the life of a piece of clothing for as long as possible.”
In everyday terms, she said, “It’s stopping to think before purchasing anything or giving anything away.”
Friday’s fourth annual Organic Runway brings Hudson Valley designers to the farm for a sunset showcase of garments made from repurposed textiles and produced locally. Designers include Clare Bare, ennui, Kacy Coyle, KNUD, la vie après l’amour, Last Night on Earth, So Vicki and Touch Threads. The evening runs from 4 to 8 p.m., giving attendees time to pick apples and sip local cider before settling in for the runway.
“We’re all about the whimsy here at HVSFW,” Louis-Paul said. “The runway is so incredibly dreamy. Being outside makes for an unpredictable, one-of-a-kind backdrop every year, and there’s just nothing like that sunset glow.”
Models walk the organic runway at HVSFW. Ilan Harel
The unlikely pairing of fashion and farming is also part of the point.
“Once you’re sitting amongst the apple trees, you realize how much sense it makes to mend the relationship between fashion and nature,” she said.
Saturday introduces the inaugural Slow Fashion Fair, from 11 a.m. to 5 p.m., with workshops, mending, fiber art, vendors, music, eco-friendly kids’ crafts and a clothing swap. There will even be sheep.
“We wanted to have a fair so we could invite more people in the eco-friendly ecosystem into the fold,” Louis-Paul said. “We get to highlight not only designers, but makers and artisans of all kinds.”
The organizers hope the fair appeals not only to people already thinking about climate and sustainability but also to those encountering the ideas for the first time. With mending, a clothing swap and hands-on workshops, the emphasis is on showing visitors things they can actually do.
“There are so many things anyone can start doing today,” Louis-Paul said. “From something as simple as sewing a patch onto a stain or tear to hosting a mini clothing swap at your house with friends and family, there are tons of ways to engage with your wardrobe more thoughtfully.”
She speaks from experience. Before becoming involved with the event, she said, secondhand shopping held little appeal.
“As someone who never liked the idea of thrifting, I am now completely sold on circular fashion,” she said. “I recently sewed a broken strap on a dress I got at a clothing swap, and I felt so accomplished! Being in this world has shown me that conscious consumption is attainable and fun.”
But behind the fun is a serious concern about what happens to clothing once consumers decide they no longer want it.
“Just because you throw it away doesn’t mean it goes away,” she said, pointing to discarded clothing accumulating in other parts of the world and the microplastics shed by synthetic fabrics. “The planet and people are suffering because of this throwaway culture we’ve adopted. If an outfit is new but super cheap, believe there’s a high cost to someone else.”
For more information and tickets, visit hvsfw.org
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
She has been creating lampshades for 25 years and has settled in Ashley Falls, where she is renovating a barn behind her house for a larger studio. Her mission: “Changing the view on plain white lampshades, one at a time!”
Besides using marbled paper, she uses papyrus, silk and hand-painted papers for the shades.
Shandell’s on Main Street, offers a large selection of marbled decorative home items on its website — trays, coasters and bookends, to name a few — as well as scarves and belts. Schneider will also customize items and creates custom wallpaper, gifts and favors for weddings and special events. She offers consultations by appointment.
Schneider explained how she began making lampshades.
“I was in business as an antiques and textile dealer, needing lampshades at the time (the early 1990s). I had a dealer who used to make lampshades. She was moving and sold me everything she had in her barn for making them. Arcs, templates for lampshades, and tools.”
Schneider used the marbled paper from the endpapers of old books to make small lampshades.
“I collected those voraciously.”
The papers were too small for the larger lampshades she wanted to make. To get paper in the size she needed, she decided to learn how to marble.
That was 10 years ago. She now has 20 tanks for marbling, including one 10-foot tank that allows her to make 3 yards of fabric at a time.
As she demonstrated the marbling process, making covers for journals, it was easy to see why she “got hooked.”
Susan Schneider, owner of Shandell’s, creates a variety of products with marbleized surfaces in her Ashley Falls studio.L. Tomaino
She explained that marbling takes a couple of days of preparation. She prepares water mixed with carrageenan the night before so that it thickens and becomes a viscous liquid onto which the acrylic paints can be dropped. Paper or fabric must also be prepared with alum, which “makes the paint stick,” she said, a day or two ahead of time.
When she was ready to start, Schneider first used a level to make sure the tank was even. Then she pulled a squeegee across the surface of the carrageenan mixture to break the surface tension, followed by strips of newsprint for the same purpose. She also dipped small pieces of newsprint into the mixture.
“The hardest thing to teach people is to break the surface tension first,” she noted.
Next, she used droppers to place rows of paint onto the mixture.
“It’s a joyful process,” she said as she chose more colors. “It’s totally the pleasure of the colors.”
She explained, “The colors are stopped from spreading by the surface tension.”
Then she added newsprint around the edges of the tank to break the tension again and added another layer of color. Next, she used a marbling comb, slowly dragging it back and forth across the width of the tank to create a feather-like design.
Combs come in many sizes, with teeth spaced at different intervals and in different patterns. She chose another comb to drag through the length of the tank, making the design more intricate before laying two pieces of paper on the surface. After a second or two, she lifted them, perfectly capturing the pattern, and carried them to the sink for a rinse with water.
Once she squeegeed away the paint left in the tank, she was ready to begin the process again.
Next, she created a different type of design, dripping colors in a less ordered array, then twirling them into curving lines and circles with a thin rod.
When the surface was ready, she laid a journal cover on top, then lifted it out, covered in a vibrant pattern of swirling colors.
For observers, the process can seem magical.
Schneider loves to share the delight of marbling by teaching classes at Dewey Hall in Sheffield. Upcoming classes will be held Nov. 20, 21 and 22. Beginning in November, she will also offer private classes in her home studio. Schneider had never pictured herself having a business like Shandell’s, but she discovered a passion for creating, as she says, “things that make you smile.”
For more information about her work and upcoming classes or to contact her for a consultation, visit shandells.com.
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Muriel Stockdale, left, and judge Roger McKee during the awards announcement at the juried art show at Trinity Episcopal Church. Stockdale\u2019s \u201cKevin\u201d was the second place winner.
Patrick L. Sullivan
Organizer Theresa Kenny said the show attracted some 66 artists, 10 of whom were new to the show.
Judge Roger McKee, who recently retired as an art teacher at Salisbury School, said of the winning work, “The technical mastery here is overwhelming.”
Roger McKee naming the winners with the first place entry over his left shoulder. Patrick L. Sullivan
Hwang was unable to attend the reception, but the second- and third-place finishers were on hand.
Second place went to Muriel Stockdale’s “Kevin.” McKee said the piece “has just enough to be compelling without getting too caught up in the details.”
Muriel Stockdale’s “Kevin” took second place in the juried art show at Trinity Episcopal Church.Patrick L. Sullivan
Joan Macfarlane’s “Branching Out” was the third-place winner. McKee described the piece as “a compelling balance of realism and interpretation.”
McKee and Emily Cox served as judges. Cox could not attend the reception, but McKee said they began their work by looking at the entire show, then went through it a second time, taking photos with their phones of the standout pieces before comparing notes.
“There was a lot of overlap,” he said. “We argued a little bit and then came to an agreement.”
The show is open for viewing Saturday and Sunday, Sept. 26 and 27, from noon to 4 p.m.
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