Sixteen years ago the dance planners at the Kennedy Center came up with a terrific idea:  Invite nine regional ballet companies to perform one special work in three separate concerts, held towards the end of the season in the Opera House. As a result of “Ballet Across America” we got to see troupes from the West Coast plus discover talented dancers from all across America – some we might have missed had it not been for this festival. 

Last week at the Kennedy Center, “10,000 Dreams: A Celebration of Asian Choreography” shined the spotlight on Asian and Asian American choreographers, who represent their cultural heritages from the countries and regions of Singapore, China, Japan, Taiwan, and the Philippines.

Curated by the Kennedy Center and Phil Chan, a Kennedy Center Next 50 leader and co-founder of “Final Bow for Yellowface.” This celebration  featured two mixed repertory programs, plus a special tribute performance with a focus on Choo San Goh. This iteration was described as “an expansion of a good thing,” by one of those original founders of “Ballet Across America.’’

The 10,000 Dreams celebration at the Kennedy Center Opera House showcased an impressive array of performances over six days. Each program  featured Goh’s choreography and was curated with meticulous attention to every detail he imagined. The Kennedy Center Opera House provided a much needed space for Goh’s ballets.

“Momentum,” set to music by Sergei Prokofiev, was performed by the Singapore Ballet, once home to Choo San Goh. Dancers in black and white unitards, blend the vigor of American athleticism and the delicacy of Asian discipline into a new Western hybrid. His “Momentum,” described by the emcee as “the fastest of Goh’s ballets,” employs a wide range of styles and moods, merging them with his characteristic hand gestures and contortions. 

In his own way, Goh approached the genius of the legendary George Balanchine in his ability to visualize music through dance. That’s not to say that one always understands Goh’s more abstract works. But even when their meanings elude you, his ballets evoke an immediate gut reaction, which testifies to his art. 

There’s no doubt that Goh had something great going on during the Washington Ballet’s glory days. He was a real loss to the company when he died at the age of 39 in 1987. The audience felt that loss from the start of the show with “A Short Film in Honor of Choo San Goh” through the closing, “Fives,” a signature of the Washington Ballet and a work that still excites. 

We can’t forget Goh’s “Ballade” ballet and the gorgeous score, “Ballade for Piano and Orchestra in F Sharp Major, Op. 19 by Gabriel Faure. Not only was the dancing sublime, reminiscent of Jerome Robbins’ “Dancing at a Gathering,” but the costumes were especially lovely, designed by Yue Songshan. Lighting, designed by Venus Gulbranson, added to the ballet’s romantic nuances.

The acoustics were exceptional, allowing every note of the Kennedy Center Opera House Orchestra to resonate with clarity. Bravo to the pianists, onstage and in the pit. Best of all, we saw Goh’s ballets danced once again on a Kennedy Center stage. 

Noted dance director, Dana Tai Soon Burgess, chose local dancers, Joan Ayap and Felipe Oyarzun Moltedo, to perform in “A Tribute to Marian Anderson,” a work that premiered in 2002 at the National Portrait Gallery. It’s a moving piece for the dancing couple as they explore their connections with each there other, weaving together the joy of discovery and the power of dance to transform. Burgess is the author of “Chino and the Dance of the Butterfly, A Memoir” by University of New Mexico Press. He is also the host of Slantpodcast.com which focuses on the Asian American arts experience.

Still it was “Fives” that best captured the good feelings surrounding the gala evening. Here the Washington Ballet dancers could show off those daring aerial maneuvers and the tricky breakneck patterns that became the company’s signature. Watching this ballet brought back so many memories. Julie Miles (who was a lead Washington Ballet dancer when it premiered in 1978) staged “Fives” for the 10,000 Dreams festival. 

The curtain came down on the lone ballerina downstage center. She is dressed in the original bright red unitard costume that Goh designed. Standing alone, in front of the large Latin letter “V” backdrop, I could see Julie in the shadows, and Choo San, perhaps, looking down on his beloved ballerinas. Last Friday’s performance will long be remembered with shared memories of Choo San Goh’s contributions to American ballet. If it returns at a future date, do plan to attend this remarkable festival as it promises an unforgettable experience. 

Running Time: One hour and 47 Minutes with two 15-minute intermissions.

“10,000 Dreams: A Celebration of Asian Choreography” ran June 18-23, 2024 at the Kennedy Center Opera House, 2700 F St NW, Washington, DC 20566. The Washington Ballet, Pacific Northwest Ballet, Singapore Ballet, Goh Ballet featuring dancers from the National Ballet of China, Dana Tai Soon Burgess Dance Company, Ballet West, and Houston Ballet participated in the festival. For more information on upcoming events at The Kennedy Center, go online.

“An Evening with The Washington Ballet” will be presented on September 5, 2024 at Wolf Trap’s Filene Center, 1551 Trap Road Vienna, VA 22182. Go online for more information and tickets. Newly appointed Artistic Director Edward Laing will continue to create Asian-inspired ballets for the company as he has done all over the world.