Mass Movement Dance, Brighton, MA.
July 13, 2024 (considered digitally).
Typically dance succeeds on an aesthetic/kinesthetic degree – providing one thing that’s pleasing to expertise. Typically it accomplishes one thing extra cerebral, scary thought and difficult preconceptions. The dance that will get me on my toes after the final bow, and stays with me lengthy after I go away the venue, makes an affect in each domains.
That was Nozama Dance Collective’s N2 2024. The corporate has at all times been daring, intentional and technically succesful. This program demonstrated the corporate’s increasing capability to each fulfill aesthetic senses and tickle curious minds. Along with the under, additionally they carried out an excerpt of Inventive Director Dana Alsamsam’s evocative, imagistic Untold, Retold.
Olivia Moriarty’s tenacious and considerate Un(I)type efficiently set the tone for this system. As Billie Eilish’s rating challenged cultural opinions of how ladies present up on the earth, the dancers started transferring from a crisp formation: angular, resolute. They demonstrated stellar musicality by varied timing buildings. Simply as a lot, they exuded daring physicality.
Because the rating shifted to the speaker taking extra “I” statements, claiming greater than questioning, the ensemble danced out from the formation and moved in their very own tenacious methods. Fairly fittingly, the work concluded with one dancing independently – shortly, passionately, frenetically – whereas the bigger ensemble moved in unison, rather more slowly and in a extra managed method. Who’s to say that what she provided was value any lower than what they collectively did?
Actualization, by Katie Logan in collaboration with the dancers, was equal elements softly reflective and kinetically fierce. The title did definitely have me considering of the thought of “self-actualization,” and the piece appeared to embody that concept. The dancers opened the work by coming straight ahead from a horizontal line, every transferring with honesty. By means of sharing weight, they discovered assist in each other. But additionally, significantly towards the latter a part of the work, they found their very own methods to be of their physique and in area. Their white costumes spoke to open chance.
They traveled their very own journey, in parallel to at least one one other – as all of us should do. As was true of this system at giant, ingenious form and motion pathway saved me intrigued all through – the large thought of “self-actualization” apart. I used to be additionally reminded right here: these artists appear to by no means get caught in how different artists have impressed them or in what they themselves have achieved earlier than.
Alsamsam’s DYSTOPIC introduced extra edgy thriller, with its personal kinetic taste. The rating (by Lorn) had such a transparent pulsing rhythm that I couldn’t assist however dance alongside in my seat as I watched. By means of each sustained, lengthening shapes and sharp gestures, Alsamsam made eager use of these dynamic rhythms. With it being a trio, she additionally juxtaposed – in a number of ingenious methods – one dancer towards two. That may be unified, reminiscent of in athletic lifts, or divided, with one dancer nonetheless as the opposite two moved. This method sharpened the strain within the air in addition to provided myriad prospects on the physique degree.
I’d anticipate one thing with this title to really feel even extra tense, maybe chilling…nevertheless it being extra measured than that raises attention-grabbing questions. Do these in a dystopia know thatthey’re in a dystopia? What occurs if/after they don’t? Wanting all these questions, the ambiance and aesthetic at hand was loads engaging.
Juliana Willey-Thomas’ s y n a p s e is a commendable instance of how live performance dance can illuminate phenomena of varied scientific disciplines…and likewise merely be stunning artwork. Easy canon created the chain response impact of firing neurons. Dancers transferring by that with varied qualities, in very a lot their very own manner as motion artists, additionally underscored the multifaceted outcomes of these neurons firing.
The detrimental area between the dancers, the stage area between them, was one other form of synapse – which they crammed with kinetic power and dedicated presence. Eager musicality (with the rating from mum) and attention-grabbing costumes saved all of it compelling on a purely aesthetic degree. The work had loads to thrill each the thoughts and the senses.
Jami Adams’ They Are We additionally succeeded in each of these domains, this time by considerate abstraction. A powerful rhythmic high quality crammed the stage from the beginning. Dancers gave their all to sharp canon and evocative gesture. That met the electronica rating (from Travis Lake) and black costumes to create a vaguely futuristic punk ambiance.
One dancer broke from the group to seek out independence…however later assist. Each are potential, if not at all times simple to seek out. Aside from that, narrative and context was hazy – however agitation was clear (which accent and angularity translated to me extra successfully than the convulsive actions – however maybe the latter could be simpler with different viewers). In their very own our bodies, and in one another (by notably crisp staging), they discovered some type of concord. The aesthetic at hand was additionally fairly intriguing, and satisfying, in and of itself.
With each the intellectually and aesthetically stimulating on provide, there was loads for a wide range of viewers members to understand. Arguably, those that can savor each domains – and, moreover, how each can grow to be greater than the sum of their elements – had been poised to remove essentially the most. Both manner, everybody advantages. So does dance as a area and artwork type – with artists like these of Nozama Dance Collective by no means letting it stagnate.
By Kathryn Boland of Dance Informa.
