‘Release. Joy. Love.’ A Dance Festival at Little Island.

The benefit of a Zoom interview is that it might happen anyplace. “I’m stuck in New York parking horror,” the faucet dancer and choreographer Ayodele Casel mentioned. “But I’m parked.”

Starting quickly, Casel will likely be parked in a much more picturesque spot than a metropolis road. She and her collaborator Torya Beard, a director and dancer, have curated the Little Island Dance Festival.

The setting, a floating park dangling on an fringe of the Hudson River, is a factor of magnificence. (And the expertise of watching a dance, particularly because the solar units, at Little Island is beginning to really feel like the newest New York attraction.) For the competition, which begins Wednesday and runs via the weekend, Casel and Beard — the pair are married — have created an occasion united by two themes: artwork and age. From faucet to Kathak, they’ll discover percussive dance varieties, with artists who signify many generations.

At this level in her life and profession, Casel, who’s 46 and an artist-in-residence at Little Island, mentioned she’d been questioning: “How can I have a seat at the table so I can really help support other artists that are coming forward?”

Among the youthful era at the competition are Tomoe Carr — she focuses on hip-hop, home, waacking, locking, popping and breaking — and Eddie Hernandez. Casel and Beard met Hernandez, a Latin dancer, throughout a presentation of Encores! Off-Center at New York City Center. “He was like 10 years old and just adorable and so talented,” Casel mentioned. “He’s just joy. He’s 14 years old.”

In “Don’t Call It a Comeback,” Hank Smith, a 75-year-old faucet dancer, and Rokafella, a hip-hop veteran, will be part of Beard and others onstage — and, for some, reclaim their identities as performers. Another program options premieres by Josh Prince, Ray Mercer, Darrell Moultrie and Tiffany Rea-Fisher, impressed by Casel’s prompts of “I am,” “I believe,” “I fight for” and “I strive for.” And the at all times fascinating Casel, joined by 5 faucet dancers and a band, will lead her personal program.

“With young people, with older people, with percussive dance, I like the idea of saying this is all beautiful — it’s all worthy of being in the center,” Beard mentioned. And to be at the middle, the correct circumstances are wanted.

For percussive dance, wooden floors are supreme however tough to have entry to, each in studios and on phases. At Little Island, Casel was requested what sort of ground was wanted, not only for her competition, however for the venue. They took her recommendation. “They purchased a sprung-wood floor that is the size of the big amphitheater,” she mentioned. “I have been in a struggle for years of trying to get venues to understand the importance of the right surface for the work that we do. When I consider how many times I’ve had to pay out of my own artist fee for a floor rental? It is huge, huge progress.”

Beard and Casel at Little Island. “With young people, with older people, with percussive dance, I like the idea of saying this is all beautiful,” Beard mentioned.Credit…Jingyu Lin for The New York Times

Without entry to a correct essential stage, percussive dance might be regulated to being “a special side thing,” Beard mentioned. “It’s a subtle othering that happens. Ayodele and I talked a lot about how can we try to put all of these people in the center of what this festival is.”

Together, Casel and Beard (who prefers to not reveal her age) are a power, with the spirit and fortitude to deliver dance to the larger world and to attempt to make the dance world a greater place. Recently, they spoke — Casel from her automotive, and Beard from a studio — about their imaginative and prescient. Below are edited excerpts from that dialog.

Why is it vital to you to spotlight completely different generations?

CASEL I noticed one thing this morning that mentioned, “In my mind, I’m 26, but my knees are 57 and my hips are turning 79 this week.” I additionally discover that the older I get, the youthful older persons are. [Laughs]

It’s fully true.

CASEL As a faucet dancer, we’ve at all times identified that getting older within the artwork kind is the place it’s at. That the longer you proceed to analyze it, the richer your expression goes to be. I at all times say that after I’m 65, I believe I’m going to be nice. It appears to me that in ballet or fashionable or no matter, age is seemed down upon and we are inclined to go towards younger individuals. I wish to unfold the faucet world message that older is nice. Older is the place it’s at.

And how do you are feeling concerning the youthful era?

BEARD They’re unencumbered by plenty of the experiences which have created the traumas that we feature. When I began wanting at it like that, it blew my thoughts and that interprets to artwork as effectively. I don’t consider there’s just one method. So it was actually vital to me to deliver these younger voices in.

How did you provide you with this system, “Don’t Call It a Comeback,” which options you together with Danni Gee, Aaron Mattocks, Rokafella and Hank Smith?

BEARD As an older one who spent most of my life dancing however just isn’t dancing anymore, for some time I used to be like, effectively, I’m simply going to place my dancing to the facet and now I’m going to do my different work. But Brinda Guha [the Kathak dance artist who performs Sept. 17] invited me to take part in a collection she was doing in the course of the pandemic: She invited individuals to jot down no matter they needed and to learn it after which have dancers interpret or reply to it.

What did you be taught?

BEARD That every little thing I do right this moment is grounded in issues I discovered as a dancer. And so I felt compelled to say that for myself though I don’t dance on a regular basis anymore. It’s fairly difficult for me to bop; I’ve rheumatoid arthritis.

I needed to ask different individuals who possibly individuals don’t see us as dancers anymore. People at all times say, as soon as a dancer at all times a dancer, however what does that really imply? And how will we really feel?

CASEL It’s very weak to carry out, interval, whether or not you’re younger or previous. And then I used to be considering, if you attain a sure standing in no matter subject, I can think about it might get even scarier. But so far as life is worried, how usually will we rob ourselves of actually simply residing and experiencing one thing which may doubtlessly deliver us a lot pleasure?

This may not resolve the concept of ageism in dance, however I believe the extra we’ve conversations about it and the extra you see it, it has a possible to rework the way in which audiences view dancers of a sure age, and in addition the way in which the dancers view themselves inside their artwork and after they can cease or begin doing their factor.

Casel: “I always say that when I’m 65, I think I’m going to be great.”Credit…Jingyu Lin for The New York Times

So what would you like the week to really feel like?

CASEL Like a launch, pleasure, love, collaboration between the viewers and the artists. And I say collaboration as a result of we’re performing after a great 12 months and a half of not doing so. I bear in mind the primary time I carried out reside with NY PopsUp this 12 months in February, and it felt like we have been all studying the way to get again into this. The viewers was like, will we clap? Is it applicable? It takes two. I imply it at all times has, however I believe greater than ever, we’re every inviting one another into our world and in our area.

BEARD It’s like a household reunion. You really feel welcome. You really feel some sense of homecoming and who you might be is affirmed. I believe that’s actually vital for the individuals coming, but additionally the individuals performing. It’s like we don’t need to be something apart from who we’re, and that’s worthy and that’s valued. And let’s have a good time it.

Little Island Dance Festival

Wednesday via Sunday; littleisland.org/dance-festival