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Review 2, 12-31: Don't Think, Dance
Maneca Takes Positions
By Chris Dohse
Copyright 2002 Chris Dohse
NEW YORK -- In an interview
with Jim Bauer printed in the program for his recent evening at
Here, Fernando Maneca describes himself as a "hybrid artist." As
a performer, he dances, acts and sings. In addition to choreographing
and writing or co-writing the texts for both pieces on the Here
program, Maneca filmed video segments and composed some of the music.
Being a jack of all trades is a strength and evidences a man deeply
engaged in the ideas behind his work, but in this case it also creates
a cluttered quality that ultimately weakens both pieces. His dancing
throughout the evening is consistently compelling, with a tai chi-like
precision. I usually like some meat with my potatoes, but sometimes
I found myself wishing he would think about things a little less
and just dance.
In "Today I Am Feeling
a Bit Less Cynical," Maneca physicalizes the interior landscape
of a man isolated in the urban hustle. He could be Anderson's Sharkey
or Thurber's Mitty or any number of midtown office drone wage slaves.
At first we see only his shadow thrown against a semi-transparent
screen, his vertical axis looming like a crucified savior. A video-projected
sidewalk scene and a collection of female commuters waiting on a
bench complete a visual triptych. A male voice recites the minute-by-minute
activities of his morning wake-up ritual.
A gestural add-on episode
where figures walk forward from the bench to see if the bus is coming
is the strongest fragment of group movement in "Cynical," and is
surprisingly interrupted by the clear tone of Maneca's singing.
The cast is appropriately diverse in terms of body type and race,
but the fact that they are all young and female troubles me. None
of them quite capture the ease or clarity of Maneca's own dancing.
Liam Clancy's video of Maneca contemplatively repeating gestures
while seated in a subway car cut with Maneca dancing in a concrete
subway station, divided by the framing of a screen that bisects
the space, is quite powerful. Maneca enacts the disturbed muttering
of a sidewalk nut job at the same time in another area of the stage.
Either of these episodes could be an effective ending to the piece,
and both are richly layered. They are too much to take in at once
For "Just Like a Man,"
Maneca intersperses movement solos (many created for him by other
choreographers) with video interview footage and monologues. The
work intends to dig under the stereotypes our culture shares about
what it is to be male. In the first danced solo, "Western Flannel,"
Karen Bernard's choreography mimics the iconic postures of the cowboy.
Maneca embodies this physicality easily, with a dignity and intelligence
that transcend parody, but neither he nor Bernard manage to communicate
how they feel about the hackneyed trope of the hypermasculine Marlboro
man. They simply recreate it. His movement is stripped to its essence
with nothing extraneous or fussy. In this solo, as in the next --
Shannon Hummel's "The Fall" -- Maneca's limbs have the real gravity
of pedestrian actions, yet stay expressive.
Maneca dances with vulnerability
and power in two other solos, "In a Dark Wood," choreographed by
himself, and Aviva Geismar's "Nothing in Tow." "Wood" maintains
a violent, sacred ritual energy. Silhouettes that might be taken
from Flamenco or hip-hop posturing erupt from Maneca's persistent
rhythmic cadences. Geismar showcases Maneca's movement facility
beautifully, allowing him to repeat phrase material and evoke a
fragile boyhood that stays true, even when Ravel flourishes a bit
too fawningly on the piano keyboard.
In a final installation/performance
using video created by Liam Clancy, Maneca clearly positions himself
somewhere between the traditional male and the internal feminine.
Yet the piece leaves me with several questions and no insight into
the essential nature of maleness that I didn't already have. Perhaps
Maneca is also only at the beginning of this inquiry?
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