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1, 3-3: Ride the College Dance Loop
Barnard Dances Back to the Future
By Paul Ben-Itzak
Copyright 2000 The Dance Insider
There's an
elderly women I sometimes see perambulating the streets of Greenwich
Village, sometimes by herself, sometimes accompanied by a young
man, often with a confused look in her eyes. I don't know her, but
I do know who she is. Because I am aware of her stature, I always
try to greet her by name, in the notion that it means something
to her to be recognized. I've seen all too little of her work; I've
just taken the word of others that it's got grit. Thursday night
at the Miller Theater, thanks to a group of women on the opposite
side of their careers--dance students at Barnard College--I saw
why Anna Sokolow is a legend.
To a pedestrian
like me, Sokolow's "Riding the Culture Loop," staged by Lorry May,
seems like a tough dance to take on, for dancers of any age, let
alone those at the beginning of their careers. The title refers
to a bus route which began in Greenwich Village, passing through
the Upper East Side and Spanish Harlem. The music reflects this
diverse landscape, streaming from electric guitar to symphonic jazz
to Latin jazz to mambo. The movement goes from the vivacious--such
as a semi-spastic beginning, to the guitar, and a conga line towards
the end--to the pensive, such as a duet, danced calmly by guest
artist Benjamin Cortez and Heather White. It has a feeling of travel,
at a wide range of tempi, with varying degrees of urgency. Sometimes
they bundle together as a group, at one point waving, as if from
a bus; at others the patterns are more spread out and spare. I was
impressed not only that the dancers could pull this off, but that
they did it so seamlessly. Those dancers: Cortez, White, Miranda
Calderon, Elyssa Dole, Kate Garroway, Julie Grinfeld, Katie Higham-Kessler,
Tohko Kosuge, Jessica Lewis, Leah Nelson, Cathy Paras, and Diana
Torba.
What impressed
me about Sokolow's style is that it had no one style, no recognizable
set of phrases. I understand some might find this a liability. For
me, the attraction is that the phrases were built specifically on
and for the music.
An even more
intricate musicality was presented by Neta Pulvermacher in her 1994
"Good Bye and Good Luck." A program note refers to this piece as
"Klezmer Grunge, which draws upon a Jewish/Yiddish heritage of humor,
hope, guilt, longing, and fate." Pulvermacher and the dancers brought
me at least one epiphany along these lines, dancing to the more
up-tempo parts of Anthony Coleman's original score: Even when Jews
dance, they do so with a heavy heart, their shoulders sloped with
the burden of life even as they ostensibly celebrate it.
There's an
Eliot Feld work set to Klezmer whose name I have erased from my
mind, much as I wish I could erase the memory of the dance. Feld
uses about one phrase in the work, which basically expresses, "Isn't
this music just zany?" without any shadings.
Pulvermacher,
on the other hand--working, like Feld, with young dancers--gives
us a nuanced, layered reading of Klezmer. Rather than the trite
generalization of Feld, she gives us a specificity of phrasing,
it seems, for all the limbs! Pulvermacher also gives her dancers
violins and bows; a device which I was at first suspicious of, because
it seemed so obvious. But choreographer and dancers do the work.
Their mime of playing the violins is sincere and second nature,
not just indicated. The violins are not just artificial extensions
of the dance, but integrated with the dancers, almost as extra limbs.
The dancers,
too, give nuanced performances; I find young dancers can have difficulty
conveying tragedy, and often find myself saying, "You're 20 years
old-- what do you know of suffering?" But here, the dancing to the
somber sections was weighted. Standouts were Liz Pearlman, a wizened
and wry narrator; Thea Little, who brought up the dark side; the
reckless (in a good sense) and imposing Joya Powell; and a windswept
Emily Prager.
The least substantial
and sophisticated--and, to my mind, uninformed--work of the evening
was Francesca Harper's "Liquid Steel." Harper was a principal dancer
with Frankfurt Ballet under William Forsythe, and we can see that
influence--much diluted. The balance between the mathematical genius
of how Forsythe extenuates the ballet vocabulary, and the pique-for-pique's
sake of Complexions is precarious. I almost think you have to be
in the brain of Forsythe to avoid becoming Complexions, and that
even once removed the genius is removed, and we're left with posing.
Harper also copies another Forsythe trick--having the dancers speak--
with flat results. The two dancers who talk are not actors, and
they certainly couldn't have been inspired to reach beyond themselves
by cliche-ridden dialogue that was strictly high school drama class.
In effect,
this was classroom exercises, not a refined dance. Ditto for the
D.J. Spooky "music," described as having been "composed for the
dance," but which was yet another version of the percussive ambient
"music" composed for five out of six new dances at the Alvin Ailey
company over the last five years.
One can clearly
see the difference between a beginner like Harper and Janet Soares's
premiere, "Camera Obscura." Recognizably in the style of Doris Humphrey
and Jose Limon, it lacks the pungency of works by those authors,
but nicely approximates the poignancy. If "Liquid Steel" is an assemblage
of steps, "Camera Obscura" is a well-assembled dance, a successful,
succinct lesson for these dancers in how to present an important
historical style. It is easy to exploit these young bodies for the
extensions rampant in Harper's work. It is less showy-- though,
I would argue, more important--to teach them how to dance an important
part of their heritage. At the least, they do this beautifully--as
in "Camera Obscura." And at the most, as in the Sokolow work, they
rescue that heritage from the dusty history bins and infuse it with
the air of the future they carry in their oh so very young bodies.
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