Wewolf | Sep 15, 2018 | Sat 2 pm & 7:30pm | Grandel Theatre
Henry and Edward
ST. LOUIS PREMIERE
Dance St. Louis kicks off its 2018-19 season with Wewolf at the renovated, historic Grandel Theatre in the Grand Center Arts District.
Experience a fusion of hip-hop, breakdancing, contemporary dance and contortion like you've never seen before from the LA-based company of international artists.
RubberLegz and James Gregg are renowned choreographers and seasoned dancers that have joined forces in creating Wewolf, a company which is focused on creating and working on different projects that brings their methods of dance and visual arts together.
Henry and Edward
Making its North American premiere in St. Louis, Henry and Edward presents hip-hop like you have never seen before!
The piece is an abstract representation of Dr. Jekyll and Mr. Hyde. It explores the connection of two bodies forming one soul and the discussion between two entities inside one being. It's the battle of the euphoric high and how to maintain that sensation, and the battle within oneself and the voice of the alter ego.
With the artists’ backgrounds ranging from hip-hop, threading and breakdance to contemporary dance, this work combines all these art forms to come up with an intellectual and thought-provoking full evening work.
Tickets are $40, $35, $30, and currently on sale through MetroTix.
Rauf Yasit (aka RubberLegz)
Rauf Yasit has a style that defies categorizations. He started as a self taught B-Boy in 1998. In 2007, after years of mastering his craft in breakdancing, Yasit’s repertoire evolved to include performing in a contemporary dance production. Endless hours of rehearsal inevitably transformed a childhood hobby into his life’s work and passion.
Aptly dubbed “RubberLegz” for his ability to miraculously contort his body into unthinkable shapes and positions, the Berline and Los Angeles-based breakdancing phenom competes in and judges dance competitions as well as teaching workshops all around the globe. Rauf Yasit is a multi-disciplined tour de force. He received his diploma in 3D-Vizualisation and Animation in Switzerland and has years of experience working in professional design agencies as a visual artist. He then moved to Berlin and worked as a freelance artist in both design and dance.
Today he is a known worldwide and is a respected artist with his very own unique style. He is now living in Los Angeles focusing on projects, bringing his photography, design and dance skills together.
His most exciting project is the development of his own choreographic tools called MESH.
Colorado born, Oklahoma raised. James Gregg is now an international choreographer. He has created choreographic works on Whim W’Him, Danceworks Chicago, Dark Circles Contemporary Dance, Ballet X, Northwest Dance Project, Nashville Ballet's Emergence, Springboard Danse Project Montreal, River North Dance Company, Elements Contemporary Ballet, Cirque du Soleil at Sea and L’Ecole Superieure de Danse de Quebec.
Most recently, James was the recipient of the prestigious 2015 Princess Grace Choreography Fellowship Award. He was also the winner for Ballet Austin's 2014 New American talent choreographic competition, a finalist in Milwaukee Ballet's 2013 Genesis Choreographic competition, and in 2011 the winner of the International Choreographic Competition at Festival des Arts de Saint-Sauveur.
As a performer, James has worked with Bodytraffic, Les Ballet Jazz de Montreal, Aszure & Artists, Rubberband Dance Group, and River North Dance Company. Throughout his career he had the opportunity to do the works of many renowned choreographers including Victor Quijada, Barak Marshall, Aszure Barton, Crystal Pite, Rodrigo Pedernieras, Frank Chauves, Danny Ezralow, Mauro Bigonzetti, Annabelle Lopez Ochoa, Cayetano Soto, and more. James also has been featured in several music videos, feature films, and in TV documentaries and specials. Elton John, Lyon, Kresha Turner, Ils Dansent, On the road, and Soul Survivors are a couple of examples of this. These experience to work with such a variety of artists and different artistic avenues has given James the tools to create his own language and helped mold his choreographic voice and vision.
His biggest interest is to create movement from the inside out and exploring different paths and routes through which the body can move. Discovering how these various avenues can evoke emotion and how those emotions translate throughout the body.
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