DANCE OF PROTEST

The American Dance Guild and Clark Center NYC produced “Politics of Movement: When Dance Speaks Out”, a diverse bill that created a multi-perspective lens for audiences to see the ways dance can, and has always, played an active role in protest, resistance, and social justice.

The winding formations and patterns, punctuated by the stamping of dancers’ feet, alongside live drumming, was how H.T. Chen & Dancers, presented “Opening the Gate.” Grounded in strength, the dynamic shapes created by the collective bodies was impressive.

Similarly, “CRACK!” by Makayla Monet Peterson utilized sound and spatial structure as tactics to articulate. The poem “Angry Black Woman” by Porsha Olayiwola played amidst jazz and modern scores. Monet Movement Productions: The Collective dancers embodied hard-driving rhythms. Their bodies became the music, and the inflection of Olayiwola’s voice, passionately intensifying, soared through the choreography.

Anabella Lenzu rearticulated a solo from her work “The Corral”, a visceral expression of her experience with the Argentinian uprising, El Corralito. Vocalisation, projection, and the wrath of her body emphasized the weight of the emotions that accompanied her experience. Her whole body, every move, radiated emotion.

For Jamel Gaines Creative Outlet, Christopher Huggins revisited “Mothers of War”, after over a decade since its premiere. Alpha Omega Theatrical Dance Company performed “RADEAU/RAFT”, Eleo Pomare’s 1994 work reconstructed by Enrique Cruz Dejesus. They each
carried the same emotionality Lenzu introduced, with potent, fluid technique. Their bodies spoke of what was happening to, and around them.

The Isadora Duncan solos, “The Crossing” and “Revolutionary”, danced by Francesca Todesco, “How Long? Now!” the group piece developed by Todesco, Catherine Gallant, and Duncan intensive dancers.

The Sokolow Theater/Dance Ensemble’s “Slaughter of the Innocents” solo performed by Erin Gottwald, was articulated less ‘literally’. Instead of placing viewers into the moment, they shared their response. Fists punched into the earth highlighted rage, hands held up in desperation. The choreography explained how they felt in response to injustice and thus inspired the artists to reinterpret the works.

Another work revisited, “Dance Americaine” (1923) by Ted Shawn was presented as “Untitled 51 After Ted Shawn” a reimagining of Arthur Aviles’ 2020 augmented solo, as a queer duet. It was a delicious filling for the solo turned duet wittily performed by Peter Elizalde & Edu Tair Hernandez. Aviles manipulated time to joyfully expand the frame, making room for another body.

Choreographers can decide how societal climate seeps into, or is rejected by movement, but no matter where they land on the spectrum of confrontation, the movement of bodies is undeniably political; to think otherwise would be an act of complacency in a time demanding action.

EYE ON THE ARTS< NY — Emma Edy Morris

Photos by Mansa Mussa