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, upsetting 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 influence 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 beneath, in addition they carried out an excerpt of Creative Director Dana Alsamsam’s evocative, imagistic Untold, Retold.
Olivia Moriarty’s tenacious and considerate Un(I)kind efficiently set the tone for this system. As Billie Eilish’s rating challenged cultural opinions of how girls present up on the earth, the dancers started transferring from a crisp formation: angular, resolute. They demonstrated stellar musicality by varied timing constructions. 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 – rapidly, passionately, frenetically – whereas the bigger ensemble moved in unison, far more slowly and in a extra managed method. Who’s to say that what she provided was price 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 pondering of the concept 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 help 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 house. Their white costumes spoke to open risk.
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 massive, creative form and motion pathway stored me intrigued all through – the massive concept 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 carried out 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 creative methods – one dancer in opposition to two. That may be unified, resembling in athletic lifts, or divided, with one dancer nonetheless as the opposite two moved. This method sharpened the stress within the air in addition to provided myriad prospects on the physique degree.
I’d count on one thing with this title to really feel even extra tense, maybe chilling…but it surely being extra measured than that raises fascinating 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 attractive.
Juliana Willey-Thomas’ s y n a p s e is a commendable instance of how live performance dance can illuminate phenomena of assorted scientific disciplines…and in addition merely be lovely artwork. Clean canon created the chain response impact of firing neurons. Dancers transferring by that with varied qualities, in very a lot their very own method as motion artists, additionally underscored the multifaceted outcomes of these neurons firing.
The unfavorable house between the dancers, the stage house between them, was one other type of synapse – which they stuffed with kinetic power and dedicated presence. Eager musicality (with the rating from mum) and attention-grabbing costumes stored all of it compelling on a purely aesthetic degree. The work had loads to please each the thoughts and the senses.
Jami Adams’ They Are We additionally succeeded in each of these domains, this time by considerate abstraction. A robust 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 search out independence…however later help. Each are potential, if not at all times straightforward to search 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 kind of concord. The aesthetic at hand was additionally fairly intriguing, and satisfying, in and of itself.
With each the intellectually and aesthetically stimulating on supply, there was loads for a wide range of viewers members to understand. Arguably, those that can savor each domains – and, moreover, how each can turn out to be greater than the sum of their elements – have been poised to remove probably the most. Both method, everybody advantages. So does dance as a discipline and artwork kind – with artists like these of Nozama Dance Collective by no means letting it stagnate.
By Kathryn Boland of Dance Informa.
