…in the Eye of the Beholder
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Cock-a-doodle-doo! The sound of a rooster marks the beginning of Balkan Beat Box’s “Cha Cha” to which an upbeat, fun story is performed by a couple from the Gallim Dance Company. It was the kind of high-tempo music and engaging expression and dance that makes the watcher want to jump up and join the dancers on stage. It was the kind of happy wake-up call necessary to follow the abstract and highly conceptual performance of the Merce Cunningham Dance Company.
Set to John Cage’s “music” and with Rauschenberg as inspiration for the backdrop, the piece, titled “Xover,” features dancers in minimalist white unitards. Alternately prancing around the stage in pairs and individually and finally altogether, the dancers show they are technically sound and practiced in the timing of their movement to the silence that occurs in the “music.” Followed by a screech or some random French musings, dancers appear or exit the stage with no coherent fluidity. Where there should be strength in movement, especially when partnering, there seemed to be a lack of conviction; there was no feeling given to the physical motion nor was there a perceived emotional connection between partners. Sure there was a theme, but the only feeling elicited was annoyance; sure the John Cage’s challenged conceptions of music, but use of traditional steps and technical dancers left the watcher in confusion. There was no movement or motion that challenged conceptions of dance nor was there anything to add interest.
The aforementioned Gallim Dance Company swooped in like a tornado of fresh air and a bubbly mood that was inescapable. All the dancers were featured at some point, and the boldness of each individual was expressed in their bright and varying costume and consuming movement. Everyone on stage related to each other well in emotion, partnering, and technical strength, but what made the performance especially gripping was the way the audience was engaged. Sometimes it would be mouthing the words or giving a little smile or nod to the audience, inviting them to show emotion; this piece is fittingly entitled “I Can See Myself in Your Pupil.” There was power and interest in the movement and it very well related to the eclectic music chosen. Every dancer was special, there was control and energy from head to toe, and there was a great group dynamic. This performance left me with an inspirational sort of feeling that still hasn’t left.
What followed was a traditional Indian performance from Madhavi Mudgal. It started out beautifully in movement and one was transported into a melodic style that was easy on the eyes. However, what started out promising didn’t continue that way. The composition was choppy in movement on the stage and in formation and moving out of formation and the tempo and style started to put me in a sleepy lull. The performance focused on one dancer while the rest felt like backup dancers but shouldn’t have been. There was more energy created with all the dancers moving as one rather than the appearance of subservience to one. The result was a thoroughly uninspiring piece.
However headache-inducing the show started, it ended with a delightful presentation of Twyla Tharp’s “The Golden Section” by the Miami City Ballet. There was an ease and confidence into the jumps and motions of the dancers and simplicity yet intensity to the composition of the dancers and the piece. The only criticism I can express is what felt like a lack of conviction for the emotion at times. But the dynamism and strength of movement made up for what the dancers’ faces didn’t provide. There was subtlety in the warm feeling to be elicited, and the beauty was in the vigor yet tranquility of movement.
The medley of performances provided a well-rounded variety for the night; from conceptual to modern, people continue to fall for dance because there are so many different styles and interpretations that can be conceived. Movement and dance is available to anyone, and Fall for Dance serves to showcase what can be made of it; even if not every section is enjoyed, one can question why they didn’t. The show was like a day where the morning was mind-numbing and painful, the afternoon took a huge upturn and was exciting, the evening mellowed out, and there was a nice dessert before sleeping. And when the next day starts (no thanks to a rooster), there is an uninhibited desire to dance.
