Fall for Dance Delicatessen
"I Can See Your Pupil" by Gallim Dance; Taken by Chris Randle
Fall for Dance is a Whitman’s sampler box of dancing, with various flavors ranging from post-human to Israeli beat box, and others in between. This years showcase presented a dynamic range of performances that offered something for audiences of different tastes
The first performance was perhaps the darkest and most bitter chocolate of the bunch, entertaining intellectuals who are well versed in the arts and offering little meaning for the average audience. The Merce Cunningham Dance Company performed Mr. Cunningham and John Cage’s collaboration, XOVER, a controversial post-human piece that was set in tune to a live, deadpan, vocalization of random noises. From what first sounds as the throat juggling of hairballs materialized language and stuttering opera pitches that an ignorant audience can easily mistake for a broken radio. Nevertheless, the “random array of noises” seemed to guide the movement of the dancers, developing a reactionary motion as two of them complemented each other in a physical unison; with one shadowing the other, their performance can leave anyone mesmerized. Their flawless execution has done justice to the choreography, that is to say that their execution was void of emotion. For those who dare to draw their iPhones amidst a “mesmerized” state, and Wikipedia Merce Cunningham’s work in experimental dance and John Cage’s metaphysical take on music, will find a delicacy of substance. As the principal collaboration of the two lovers, the unique product won a standing ovation from many, but little affection from young college students such as myself.
The second performance, titled “I Can See Myself in Your Pupil” and conducted by Gallim dance, was the most exotic of the bunch, living up to its description as “a joyous romp that plays with the madness of imagination and the ecstasy of movement.” Delivered with personality and joint-defying explosive movements, Gallim’s dancers were the only ones who were accoutered in varying urban, casual, attire, offering each one a distinguishable identity that was elaborated with individualistic motions. Nevertheless, their movements were thematically correlated to sexual relationships, and their choreography familiarized with hip-hop dance, although to the sound of an ecstatic trumpet. The company’s jittery and seemingly caffeinated motions resonated well with the young audience; necessitating no research of a recipe grasped by a youthful taste.
The third treat was an Indian Odissi movement. In a ritualistic and communicative performance, Madhavi Mudgal offered insight into Indian culture in his world premiere of Vistaar. The dance was well choreographed in a rhythmic progression achieving symmetry. Although its message may be fragmented in translation, the execution of the performance itself was impressive, lending to traditional “division in Odissi dance of head, bust and torso.”
Like a liqueur-centered truffle, the final movement was the most exquisite, offering traditional ballet and captivating acrobatics with a “The Golden Section” in between the energetic intoxication and technical style. Twyla Tharp succeeded in intertwining ballet dance with David Byrne’s contemporary symphonies. The stage was showered in the ambiance of golden lighting, appropriately matching the dancers’ outfits and the triumphant mood of the musical piece.
With few potential flaws, and the accommodation of a multitude of tastes, Fall for Dance offered a salivating serving of entertainment to a diverse audience.
