FALL FOR DANCE 2014 - Program Two
October 11, 2014
Strands of American post modern dance roped around fractured neo-classical ballet with a dollop of Spanish urban attitude and community dance hall in the second program of the popular Fall For Dance Series.
The many shades of William Forsythe sparkled in the U.S. premiere of “Neue Suite” (2012). Five duets described his genetic dance progression from traditional ballet (raised in the Joffrey Ballet idiom) rippling through the edgy ballet style pinned to Cunningham’s stringent modern dance aesthetic. Performed by the Semperoper Ballet Dresden, all five couples distinguish themselves by executing the steps in a clean, minimalist style steeped in exaggerated hip thrusts, out of hip socket leg extensions and razor fast one-legged spins.
In the last century—the 9170s’ -- Lucinda Childs represented a group of innovators and dance anarchists who pulled away from the traditional dance scene and sowed forms that gave equal weight to all forms of movement whether it be a walk or pirouettes. Well, actually, few pirouettes emerged, but as witnessed in Lucinda Childs Dance Company’s performance of “Concerto” (1993) there was plenty of walking, skipping and directional shifts all plotted against a gleaming geometrical gird. Childs fleshes out the ornamentation of performative modern dance and ballet, and leaves the essence of steps against strict rhythm and patterns in space.
Again, in the 1970’s there was a fear that hip-hop would die before it took root. Well, that’s hardly a concern because it spread globally and reappeared last night in a strong duet “AP15 choreographed and performed by Sebastian Ramirez and Honji Wang. Opening in silhouette, the slim Wang assumes the profile of a shadow puppet, arms dangling, and legs silently sliding along, twisting and crumbling until Ramirez appears. Like magnetized mechanical toys, they move in tandem. He grabs her head and she twists round and round, the two becoming one.
Finally, the Alvin Ailey American Dance Theater made the best of Ohad Naharin’s engaging “Minus 16” that brims with a sense o community, belief and ecstasy. First, the remarkable Samuel Lee Roberts stands alone crinkling his arms, legs and torso into spongy moves slinking up dance down his spine. Israeli folk dance elements accent all the stamps and handclasps rotating forward and back over scuttling slides.
Dancers in black suits and white shirts, sit on chairs curved around the stage, dropping their torsos forward and back, popping up into a frenzied solo and then rejoining the corps. In the finale, house lights rise and dancers stream through the aisles selecting people to come on stage and engage in Mideastern style couples dancing. Oddly enough, many of the chosen civilians wore red, and had a mighty fine time—equaled only by the audience.
EYE ON THE ARTS, NY -- Celia Ipioits