By Eva Trieger
SAN DIEGO–Choreographer John Malashock is no stranger to any facet of the art world and his upcoming celebration of 25 years of dance is evidence of this glowing passion. Citing Twyla Tharp as an inspiration, Malashock expresses his love of storytelling through dance. He avers that he likes “letting emotion inform the movement.” The motto for his company is “Emotion in Motion.”
An Emmy Award was given to Malashock for his 10 years of Outstanding Achievement in Choreography at the recent 36th Annual Pacific Southwest Regional Emmy Awards ceremony . Malashock was presented this coveted icon for his dance film choreography in The Floating World. a combined effort of dance and video directed by John Menier. This collaboration fused Malashock’s artistry with Tara Knight’s video projection, Zoe Keating’s music, and costumes designed by Zandra Rhodes.
The Malashock Dance company does not only perform but also educates. It has been offering an array of classes of all levels for the past five years at the Dance Place in Liberty Station, Pt. Loma. The space also boasts a performance area with seating for about 80 devotees.
Malashock describes his connection to Jewish-themed works as “long and strong.” He has collaborated with the Traveling Jewish Theater of San Francisco, as well as with the consummate klezmer artist, Yale Strom.
In fact, an upcoming project, which promises to be as enlightening as candid, is currently in the works. Strom and Malashock are teaming up with the generous nurturance of La Jolla Playhouse to produce a dance musical based on the life of artist Marc Chagall. This duo has previously created Tribes, which San Diego Repertory Theater director Todd Salovey declared “an electric moment in the Jewish Arts Festival, pairing two mature artists.” Salovey described this as a pivotal moment for the festival, imbuing it with a coming of age and importance.
When asked about new directions, Malashock said he favors growth and change. He explained that he wants to depart from the single choreographer model to “expanding choreographic voices.” He has already experienced this with artistic director, Michael Mizerany and other guest choreographers. Additionally, the company will seek out a wider arena for touring.
Malashock is most interested in collaborations utilizing mixed media in the next phase of his company. This includes visual artists, composers, and a variety of art forms that are enhanced and enriched when stage and screen interact synergistically. He described himself as proud that he has reached this milestone as it is unusual for a professional dance company to survive and thrive for one quarter of a century.
The Dance Place will hold a summer workshop and in October we can look forward to Malashock/ RAW, an edgier, provocative work that the director feels will force him to “push myself as an artist.” Malashock says fluidity is fueled by creating a flow of inner energy and allowing it to be translated into movement, so the observer can witness the dancers’ interior struggles.
His stories are told through bends, folds, extended fingers and pointed toes. The messages are sometimes subtle and at other times demanding and plaintive. They are complex and multi-flavored. Malashock’s themes include relationships, break ups and regrets that while not exclusively Jewish, strike a chord within our ancient psyches. He often reveals the rich and textured past and present of our Jewish heritage with his unique choreographic style.
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Trieger is a freelance writer specializing in the arts. She may be contacted at eva.trieger@sdjewishworld.com