Meow, Dance & Other Pursuits: The 2009 Ringling International Arts Festival - Feature

The essence of art and culture is in the eyes of the beholder regardless of taste. In the aspect of avant garde, especially in terms of performance art, the angle of diversity is key. In creating the Ringling International Arts Festival, a showcase of exceptional programs from all over the world, John Ringling, who made his home in Sarasota, Florida where the festival is held, would be proud in its forward thinking and its exceptional poise in bringing cutting edge pieces to the masses.Held on the estate of Ringling himself (which he used as a winter home in the 1920s) with the performances seen held in the Asolo Rep which was an actual transported opera house from Italy, the sum of the true visionary elements come through in flying colors.The highlight by far was the World Premiere of “Busk ” by the Azure Barton & Artists Dance Company based in New York. Using influences of impressionism and war iconography, the symmetry and intensity of the piece is matched only by the fluidity and absolute control of the dancers. Starting with a violin singing from a perched box above the orchestra, a lone hat sits alone upon the stage as a black garbed dancer with echoes of Costas Mandylor sleeks through the space impressing his talent in his movement but also in his distance. As he collapses in shadow on the front of the stage, hooded figures behind him stand in structure like wraiths emerging. The dancing begins in unison with subtle beat changes lured in tandem to a fusion classical style. The movement is not restricted to the dance as it also keys in with a cinematic superlative of lighting which was a consistent element throughout all the elements of the festival. The shadows of the wraiths seem risen from Queen's “Bohemian Rhapsody” as they spin and integrate with passion. Up close, you can see the physicality of the dancers as the interaction continues with grace. A girl, lithe and twirled, moves from fast to slow motion as you can see the control of her tiniest toe moving in congruence. Half way through with a subtle storyline involving connecting in a fleeting world, the music and style bring to focus a Russian but also Jewish undercurrent that creates a richness of structure beyond the sheer prowess of the performers, each distinctly unique but perfectly synced with their company.Like the earlier and much more experimental “The Snow Falls In The Winter” from the OtherShore Dance Troup (which was performed right before “Busk”) both were shepherded by the Baryshnikov Arts Center (BAC) who partnered with the Ringling Museum Of Art to make this festival possible. Seeing this collaboration, the level of artistic talent and perception being highlighted in the getaway town of Sarasota for this type of festival is at times astounding and gives it the perspective of the possibility to become one of the best of its kind in the country. The fact that, in the VIP Room, right after the first performance, Mikhail Baryshnikov himself stood talking and lending his support to all these young dancers (having sat in the back row of the theater himself without anyone knowing) simply lifts the respect for what is being done here. It really speaks when someone of his stature makes the time since you can't think of dance in the last 50 years and not think of him.In tandem with the aspect of dance, the second highlight performance of the festival revolved in the energy and richness of “Flamenco Y Poesia” from Maria Pages & Co. Taking the essences of flamenco more as a performance piece and mixing it with visceral flourishes of sheer talent brought the crowd to a roaring standing ovation. Pages retained perfect control as three matador-like suitors danced around her in tandem. Behind them the plucking of Spanish guitars and singers slightly hidden by a scrim adds to the spice with a musical accompaniement that didn't feel like re-creation. Instead, it felt actual which is hard to do when transporting such a performance to a foreign country.Having seen both classical and street level flamenco while visiting Madrid, the one perception of this writer is that, while the selections of this performance were undeniably invigorating, the essence of distinct one-on-one male/female or same gender dances was not explored which in the Old Country intensifies to another level of seduction and energy that permeates the entire production. This flamenco program was also buoyed by the introduction of humor highlighted undeniably in a piece where Pages volleyed rhythms with her castanets to two of the matadors keeping up with canes.From the viewing perspective the rhythm and execution of the male dancers really set the place rumbling which is what one thinks of with flamenco reflected in the heavy intent of their shoe steps. The sheer bravado when the men begin to face off against each other before Pages enters in, ruffling her dress back and forth in intrepid motion, only paints the picture red, sweltering and reveling, which is the perfect way to be.The other interesting and divisive inclusion witnessed at the festival was a performance by Meow Meow, a critically-lauded cabaret act that has played around the world. Structured like an old burlesque/Moulin Rouge interim act, the performance itself is indeniably interactive, razed and shot out of a cannon by Meow herself. Granted the theater itself seemed too big for this type of performance which tends to work better in a bordello bungalow structure, it nonetheless pushed the boundaries. Accompanied by a piano and cello player, Meow always flays off stage taking off clothes and finishing half songs which is all part of the act. At certain points she even brings audience members onstage, who hoist her up as she contorts herself in earnest while singing such songs as “The Night”. One of the most arresting pieces involved her curling up on the lap of an audience member singing “Do You?” while a mirrorball spun pink speckles of light throughout the theater like some intimate interlude. As she cooed away with a dark story sung in staccato about “Hansel & Gretel”, the avant garde pervasion of Meow parlayed its wares in true form through her exceptional guise.The Ringling Estate also encapsulates the Ringling Museum Of Art and The Ringling Winter Home, both of which have been maintained since John Ringling died in the 1930s. The museum is a fantastic piece of Venetian architecture with its exceptional courtyard which was host to the Festival's Opening Night reception. After sampling sushi and listening to smooth essence of the Essex String Quartet, the celebration, including a brief introduction from Florida Governor Charlie Crist, set the stage for a massive fireworks displays that rocketed up from the bay in the melting hues of dusk. Again, the aspect of the actual governor attending gives ample credence to the commitment of the festival and of its future potential.Inside the Art Museum, the same application in terms of thinking with the festival seems to permeate through the interaction with art. In a process that has been done only a few places (the most recent memory being in Denmark), the curator, young and undeniably well educated, decided to intersperse classical visages of certain art with the modern paintings of Louise Fishman. This “injection” creates an impression of perception which works quite well with one specific pairing standing out in the form of cross-sectioning Diego Velasquez's pre-battle portrait of “Phillip IV: King Of Spain” (1628) with Fishman's “Way Back” (2002) which holds parallel elements of tombstones which can be construed as the World Trade Centers. Both tread in the beholder tales of causality but with a perception of what is to come.The consecutive exhibition keys into Ringling's love of Venice with “Venice In The Age Of Canaletto”. While Canaletto is explored as one the exceptional and purveying painters of the inherent trevices within the water bound city, it is his comparatives in the structure that again make the insistence of the art come alive through the power of its transgression. The contrast of Canaletto's “View Of Grand Canal From Campo Di San Vio” (1774) showing an idealized evenly space representation of the city (like a modern postcard) is especially revealing when compared to Francesco Guardi's “View From Canal Towards Rialto” (1785) which brims with the elements of grime, smells and edges inherent of the area while still capturing its natural beauty. Surrounding of the mix with two paintings as diverse as Sebastiano Ricci's “Christ Surrounded By Angels” (1715) which envisions Christ as a sounding call to war, raising a flag in the depths of battle as the Romans flee to Pietro Longhi's “The Display Of Elephant” depicting circus revelers and charlatans perpetually snagged between life and death, shows the texture of their will.The Ringling House, further back on the property, replete with the infamous hats that made this man a legend, graces with style from his bedroom decorated in French Empire style emulative of the Napoleonic Age to the grand foyer where he used to revel with guests. Aside, the light filled ballroom looks out onto the bay while The Tap Room, his private bar area in the heart of the house, is a transposed bar from St. Louis. Out back, the ornate Grand Terrace leads down to the landing where his yacht “Zumbrota”, which eventually sank off the coast of Siesta Key, moored against the tidings of the waves.With islands spreading out within the guise of Sarasota, the beach is never far away. On Longboat Key, which plays host to an extensive number of resorts, the key is intimacy and seclusion.At the Hilton Longboat Key, the unfettered and uncrowded access to the beach balances with the easygoing presence of everyone involved. Host to a multitude of weddings (two that weekend alone), this spot has presence and a laidback flourish that is quite welcoming.Down near the pool, Latitudes, with its outdoor bar, keeps the spirits flowing. Its lunch menu is particularly filling as an appetizer of steamed mussels ensconsced in garlic with spicy cream sauce followed by crispy fish and chips satisfies with a tart aioli sauce and a glass of Landshark Ale.Barely a mile up the road, a hidden gem of a restaurant lies in secret. Like those cool little spots that only locals know,Euphemia Haye lies with a sense of knowing; a romantic slice to be sure with its intimate service and exceptional food. A starter of Leslie Snails wrapped in mushrooms and garlic butter offered a tangy inception as a savory yet subtle pistachio encrusted filet of red snapper brimmed with flavor married with the smooth flow of a 2008 Italian Caposaldo Pinot Grigio.Upstairs in the Haye Loft, desserts become a meal into and of themselves. Descending into the devilish world of a pistachio cake mixed with dark chocolate gouss and marshmellow cream filling melded with the intention of a Edwards Reserve port which celebrated the evening.In precise interaction with the Arts Festival, Treviso inside the John McKay Center, which leads out onto the property, offers a diversity of light while satisfying placations to tide one over from one program to the next. From the perfectly grilled grouper topped with a percolating cajun tartar sauce to the tangy angel hair pasta mixed with tomatoes, garlic, goat cheese and broccoli that was simply savory, the tastes available range for all involved.The later evening also offers selections for chill and enjoyment. In St. Armand's Circle, just minutes from the Longboat Key Hilton, Lynches Pub offers a quiet drinking establishment replete with tap available Guinness iterated with the undeniable clover in the froth courtesy of the very dexterious female owner.The treasure trove of Bellingtons Cigar Shop just steps away from Lynches with its exceptional selection also encourages rightful decisions. The quagmire and draw of Siesta Key, mentioned as a destination of interest, spoke forth.A short drive from Sarasota proper over a series of bridges and back roads, much like Downtown Miami to SouthBeach,Siesta Key is the late night area of choice. Situated on a small strip, the selection of open air decks, bars and music venues offers solace for the variety of travelers. The Oyster Bar, first trevailed with the essence of two-for-one drafts, Newcastle style, offered the balance and enticement of Jager shots exceptionally poured. The incumbent bartender, interactive and enthusiastic, directed the journey to The Beach Club as the last call at the Oyster prevailed. Inside the air conditioned Beach, the band played with verve as Guinness continued to pour on tap with Icehouse on special. The locals, exceptionally fun and dance prone, kept the energy rolling until the lights came up which always is a good barometer. The moral of Siesta Key is that it is open for the fun. You just have to find it.With Sarasota as a willing partner, the legacy of John Ringling and his impact on this South Florida community continues to flourish. A wish of his before the Great Depression hit was to create such a festival to highlight the immense talent that often graced his perception as one of the great circus men of all time. Now, with the collaboration between the Ringling Museum Of Art and the Baryshnikov Art Center, the inception of the Ringling International Arts Festival is now a reality buoyed by its exceptional program, specifically in the World Premiere of Azure Barton's “Busk”.With exceptional food and lodging throughout the area, specifically with highlights on Longboat and Siesta Key, and an undeniably strong first year performance festival, Sarasota and Its Islands brews with possibility bridging the essence of vision and art in a cauldron of riches.