push/FOLD

A Portland pandemic dance survey

Local dance companies and choreographers are adapting to the new normal

During the past couple of months I have been checking in regularly with some of the folks that make up Oregon’s dance community to see how things are going. The good news is that Oregon’s dancers are still dancing. You definitely can’t keep a dancer from dancing under any circumstances. It’s who they are and it’s what they do. Plus, dancers are already used to working under harsh conditions and with minimal resources anyway. The bad news is that their situation doesn’t look like it’s getting better any time soon.

The multitalented Katherine Disenhof soaring through the air.
Photo by Jason Hill.

Almost immediately following the lockdown, the international dance community jumped online and began connecting with each other and audiences through dance classes, performances, and discussions via Facebook, Instagram, and YouTube. Here in Portland, Katherine Disenhof a dancer with NW Dance Project, who has since left the company and moved back home to the Bay Area, created Dancing Alone Together, an online hub where dancers could go to find online dance classes and events during this time of “social distancing.” 

As of today, you can pretty much find every independent dance teacher and dance studio online, teaching daily classes, of all kinds, including Oregon dance studios and companies. 

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DanceWatch Monthly: February is all about the love

February in Portland dance is all about love and its many forms (not just Valentine's Day)


It’s February and love is in the air. Dance performances this month, appropriately enough, express love in a wonderful variety of ways. From the familiar romantic love to platonic love. From the love of connecting with community too connecting with oneself. From the love of music to the love of pure movement. From the love of sharing, to the love of technology, to the love of the wild. From the love of experimentation and research to the love of a good book and a good story, to the love of intimacy, and to the love of things big and small. For the love of god. For dance itself and for the gift of emotional expression. 


“To dance is to be out of yourself,” American choreographer Agnes de Mille famously proclaimed. “Larger, more beautiful, more powerful. This is power, it is glory on earth and it is yours for the taking.” 

So, let’s dance, and do it with love.

Dances in February

Week 1: February 1-2

Holy Goats!
Performance Works N
2 pm February 2
Performance Works NW, 4625 SE 67th Ave

Holy Goats! Sunday afternoon improvisations and bagels are back!  This new iteration will be devoted to dance and music by Portland-area and visiting artists. The dancers include Allie Hankins and Caspar Sonnet, Pepper Pepper, Tracy Broyles + Adrian Hutapea + jaime lee christiana, Luke Gutgsell + Kennedy Verrett. The musicians: Catherine Lee, Caspar Sonnet, Dan Sasaki, Annie Gilbert, and Stephanie Lavon Trotter.

Founded in 1999 by Artistic Director Linda Austin and Technical Director Jeff Forbes, Performance Works NorthWest || Linda Austin Dance engages artists and audiences of the Pacific Northwest in the process of experimentation, creation and dialogue around the presentation of contemporary performance. 

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DanceWatch Monthly: Marquee TV leaps into the void

A new streaming channel for the performing arts joins local live stage performances this month

Have you heard of Marquee TV? It’s the new Netflix for the dance, opera, and theatre that you can stream in HD onto just about any electronic device. It is now possible to see an abundance of beautifully filmed, full-length productions by some of the biggest choreographic names in contemporary dance, ballet, and dance film-productions. You wouldn’t normally have access to unless you were a frequent traveler to Europe and Russia, and they are not available anywhere else on the web. Subscriptions are reasonably priced, too: You can either pay either pay $8.99 monthly or $89.99 a year to have access to all of the channel’s content. 

Marquee TV  has categories for Contemporary Dance, Ballet, British Choreographers, American Choreographers, works from the Royal Ballet, works from The Bolshoi Ballet, Dance Films, Unique Fusion works, Hip Hop inspired dances, Ballet documentaries, Behind the Scenes films, Opera and Theatre. There are works by Crystal Pite, Herve Koubi, Sidi Larbi Cherkaoui, Akram Khan, Alexander Ekman, and Anne Teresa de Keersmaeker, to name just a few, of course. And there are pieces by such American choreographers as Mark Morris, Bill T. Jones, Alonzo King of Lines Ballet, and Seattle choreographer Catherine Cabeen. 

There are also choreographers and works available on the site that we here in Portland are familiar with thanks to White Bird—I’m thinking Crystal Pite’s Betroffenheit, and French-based Compagnie Hervé KOUBI.

Betroffenheit by Crystal Pite. Photo by Michael Slobodian.

It is important to the Marquee TV co-founders Marc Kirschner and Kathleya Afanador that the channel not be an archive, a repository, or library for older works, but a living representation of the best performing arts that are being produced today. “It is a curated, constantly refreshed source for those who love the arts,” Afanador said during a series of emails and phone calls I had with the pair. 

“Marquee TV is actually a combination of two teams,” Kirschner said. “Our New York team, led by Kathleya and myself, came from TenduTV, which was the earliest digital outlet/distributor of dance programming. Our London team is mainly comprised of BBC veterans and is led by our third co-founder, Simon Walker, who was a lead architect of Arts Council England’s digital strategy.”

“We’ve designed the Marquee platform to be something that adds to the live arts ecosystem, not something that exists outside of it or competes with it,” Afanador said. “So part of the curation strategy is really about building ongoing partnerships with the arts organizations and positioning Marquee as a digital extension of the great work they’re already doing.  

For Marc, he consider venues like White Bird to be their spirit animals or guides as to what Marquee TV should screen.

Marquee is piloting a “digital membership” program with some arts organizations. That will give their members and patrons access to their content on Marquee, Afanador said.

“Our acquisition strategy is very much focused on staying current, Afanador said.

ALICE by Christopher Wheeldon for The Royal Ballet. Photo by Johan Persson.

Although the channel will have and will acquire great classics, it is committed to showcasing the new work being created and the diverse artists voices that are out there right now, Afanador said. “We look at what’s being written about and reviewed; what productions are going to be touring; what choreographers are getting commissioned and who’s setting work on various companies around the world.” 

There is an assumption that seeing performances live is the ultimate experience, and that digital experiences will drive people away from the theatre, but I would argue, now that I’ve experienced Marquee TV, that that’s not true. What you get is an intimate experience with choreographers and their work on your own timeline. You can get up for snacks and go to the bathroom as many times as you want without disturbing anyone. 

“It’s about risk management.” Kirschner said, “People don’t want to have a bad experience. Given how much tickets are, people want to know they will enjoy it.”

Kirschner said they surveyed four thousand people in the US and found that younger audiences want familiarity with an artist and their work and will watch what they can see online and go to the theatre as well. 

In Europe, digital is a part of every arts organizations mission, Kirschner explained. The goal is to reach a variety of communities through digital media, to create the biggest impact, and to draw people into the theaters to see the work live. 

Sidi Larbi Cherkaoui’s Sutra. Photo courtesy of Marquee TV.

Now I did have one issue with watching Marquee TV on my own TV, which Marc explained is an Apple one. Because I have a first generation Apple TV I can’t get to the Apple TV App Store to get the Marquee TV App. But I can easily watch through AirPlay and get an upgraded Apple TV which I’ve been wanting to get anyways. 

“We are expanding our reach as we speak—we’re about to launch on a major cable app platform, and we have a few more similar deals in the pipeline. From a device perspective, the only problematic ones are LG and Samsung TVs. However, both of those manufacturers have begun supporting AirPlay on their higher-end models, so that barrier is coming down for us. Plus, now that many streaming middleware providers (Roku, Amazon Fire, AndroidTV) are embedding their systems directly into newer generations of Smart TVs, we’re rapidly reaching a point where Marquee will be accessible to any new device that supports streaming.”

So get those snacks, get cozy, and get watching your favorite choreographers or discover new ones, on Marquee TV. You can find all the details on the website.

Dance Performances in January 2020

Week 1: January 1-5

ZooZoo

Imago Theatre, Carol Triffle and Jerry Mouawad
January 1-5
Imago Theatre, 17 SE 8th

ZooZoo is back! This longtime, audience favorite magnifies the quirkiness in our everyday life with an expert composition of elaborate costumes, masks, dance, music, physical comedy, and anthropomorphic humor. ZooZoo features a zany cast of characters like playful polar bears, firefly eyes, hippos with insomnia, arrogant anteaters, introverted frogs, acrobatic worms, self touting accordions, and tricky penguins, in this carnival of the absurd. 

Founded in 1979 by Carol Triffle and Jerry Mouawad, Imago presents original productions using masks and elaborate costumes making the humans disappear and the imaginative creatures appear.

Week 2: January 6-12

Might I suggest, Marquee TV?

Week 3: January 13-19

Dancer Andrea Parson in She’s Here: A One Woman Show. Photo courtesy of Andrea Parson.

She’s Here: A One Woman Show
Andrea Parson and Susan Banyas
January 16-18
CoHo Productions, 2257 NW Raleigh Street

Choreographed and performed by veteran NW Dance Project dancer and Princess Grace Award winner Andrea Parson, She’s Here: A One Woman Show investigates the spiritual roots of one woman through dance and storytelling. Directed by Portland writer and performance artist Susan Banyas, this evening-length work weaves personal stories, oral history, and myth to trace spirituality, magic and witchery in Parson’s Sicilian lineage. 

a world, a world by Linda Austin. Photo by Chelsea Petrakis

a world, a world
Choreographed by Linda Austin in collaboration with the performers: Austin, claire barrera, Muffie Delgado Connelly, Nancy Ellis, Hannah Krafcik, Danielle Ross, and Noelle Stiles
Presented by Performance Works NorthWest 
January 16-25
Performance Works NW, 4625 SE 67th Ave

Performed for an intimate audience of 30, a world, a world, drops the viewer into the same, saturated, arena-like environment that the dancers themselves inhabit. The work offers an immersive experience that is an amalgamation of movement, sound, image, and language.

An American in Paris
Presented by Broadway in Eugene
January 17-18
The Hult Center for the Performing Arts, Silva Concert Hall, 1 Eugene Way, Eugene

Post-war Paris is full of romance and youthful optimism as World War ll veteran Jerry Mulligan begins to make plans for a new life as a painter. But things get complicated when he meets a young Parisian shop girl with secrets. In this musical, the power of love is rediscovered through gravity-defying choreography and soaring Gershwin melodies that include, but are not limited to, I Got Rhythm, Liza, S Wonderful, But Not for Me, and Stairway to Paradise.

Week 4: January 20-26

a world, a world by Linda Austin continues through the 25th.

Berto Boyd and the artists of Flamenco Pacifico. Photo courtesy of Berto Boyd.

Flamenco Pacifico
Presented by Berto Boyd
7:30 pm January 24 
The Old Church Concert Hall, 1422 SW 11th Ave 

In the spirit of convivencia (“coexistence” in Spanish), Flamenco Pacifico’s acclaimed guitarist and composer Berto Boyd integrates Brazilian samba and American jazz with traditional Spanish flamenco in this one-night-only performance. Boyd, with guitarist/singer Grant Ruiz, percussionist Terry Longshore, and bassist Randy Tico, will accompany dancers Elena Villa and Melissa Cruz.

An artist of Flip Fabrique’s Blizzard enjoying the snow. Photo courtesy of Flip Fabrique.

Blizzard
Flip Fabrique
8:00 pm January 25
Hult Center for the Performing Arts, Silva Hall, 1 Eugene Way
&
Presented by Portland’5
7:00 pm January 26
Keller Auditorium, 222 SW Clay Street, Portland

Canadian circus company, Flip Fabrique, started by a group of friends in 2011, appropriately takes on the extreme experience of winter as a canvas for storytelling, through circus arts, creating arresting visual poetry. Blizzard, captures the magic of winter and invites you to lose yourself in the wonderment and joy of movement. 

Olga Smirnova as Giselle and Artemy Belyakov as Albrecht in Alexei Ratmansky’s reconstructed “Giselle” at the Bolshoi Ballet. Photo by Damir Yusupov/Bolshoi Theater

Giselle
The Bolshoi Ballet in Cinema, Fathom Events
12:55 pm January 26

This romantic ballet in two acts follows the peasant girl Giselle as she learns that her aristocratic lover (Albrecht) is promised to another. After going mad and dying from a broken heart, she returns from the dead as a vengeful spirit (a Wili) and she and her tribe of Wilis, force Albrecht to dance to his death.

In this brand-new production by Alexei Ratmansky for the Bolshoi Ballet, former director of the Bolshoi Ballet (2004-09) and now the artist in residence with American Ballet Theater, gives Giselle a refresh. 

To create this new version of Giselle, Ratmansky drew from several historic sources that include notations made in the 1860’s by the French ballet master Henri Justamant that were a combination of written notes and miniature drawings of the choreography, and notes scribbled on musical scores that he found in various Russian archives. The ballet, according to a review by Marina Harss for Dance Tabs, “is both familiar and new. Watching it on opening night and on the following evening, with different casts, was like seeing a faded painting regain its colors,” she said. 

Debuting in Moscow on November 21, 2019, this screening was captured live from the Bolshoi Ballet in Moscow.

Week 5: January 27-February 2

Fertile Ground Festival of New Work and Groovin’ Greenhouse
January 31-February 8
Check the Groovin’ Greenhouse and Fertile Ground websites for locations and times

The Fertile Ground Festival of New Works and its dance-centric arm, Groovin’ Greenhouse (hosted by Polaris Dance Theatre), unfold in venues around town for 9-days. The performances feature new work in various stages of development, from the fully staged to workshops, in theater, comedy, dance and film, and everything else in between.

Groovin’ Greenhouse will be performed at Polaris Dance Theatre’s home theatre located at 1826 NW 18th. The choreographers and companies being presented there are: Polaris Dance Company, ELa FaLa Collective, Mark Koenigsberg and Sara Naegelin, Polaris Junior Company and NEO Youth Company, ELXR Dance Company, and Central Catholic Dance. Check the Groovin’ Greenhouse schedule for dates and times.

Independent Fertile Grounds dance productions

Interplay
Echo Theater Company 
January 31- February 9
Echo Theatre Company, 1515 SE 37th Avenue

Featuring dance, video, music, physical theatre, aerial expression, Shibari (Japanese rope bondage), and more, this mixed repetoire highlights the work of traditionally marginalized communities and will be sex and size positive. Each weekend will feature a different group of artists presenting 10-20 minute vignettes. To view these works is to explore what arises when several performance disciplines unite to produce an original piece of work.

Weekend A: Heavy Is The Head that Wears the Crown: Mental Health Memoirs of the Black Woman by Noelle Simone, Bad Grrls of Bellydance by Sasshole, self-titled Rip/Pull Effect, and We Belong Here by Echo Theater Company.

Weekend B: CITRINE by Joni Renee Whitworth, The Book of J by Sara Fay Goldman and Marc Schreiner, Textured by Flo Buddenbaum, Summer Olsson and Aurora Rupert, and We Belong Here by Echo Theater Company.

Junction
AWOL Dance Collective, push/FOLD, and Tempos Contemporary Circus 
January 31-February 2
A-WOL Performance Warehouse, 513 Northeast Schuyler StreetPortland

Performing together for the first time are aerial dance company A-WOL Dance Collective, contemporary dance company push/FOLD, and contemporary circus company Tempos Contemporary Circus. For this performance, each company was tasked worked with the concept of connectivity as their choreographic theme-the state or extent of being connected or interconnected

AWOL Dance Collective, ​is a non-profit arts organization with their own performance warehouse space in NE Portland that embodies the idea of “aerial without limits,”and believes that the arts build community and enhance the quality of life and in its various forms, fosters creativity, empowers individuals and brings people together.

push/FOLD, is the vision of composer-choreographer Samuel Hobbs, whose work fuses the power of his athletics and dance career with his professional practice in Osteopathic medicine. With a minimalistic visual design and Hobbs’ original sound scores, push/FOLD features momentum-based choreography and sculpturesque partnering that craft immersive moodscapes and virtuosic dance performance.

Tempos Contemporary Circus is an ensemble that combines dance, music, acrobatics, and physical theater to explore the connection between the vulnerability in ourselves and within our community.

Left: Subashini Ganesan (Photo by Intisar Abioto); right: Yashaswini Raghuram.

Listening to Silence
Collaborative choreography and performance by Subashini Ganesan and Yashaswini Raghuram
January 31-February 2
New Expressive Works, 819 SE Belmont Suite 2, located In the WYSE Building. (Use the building doors located on the South side of the building.)

In her new work, “Listening to Silence,” Portland-based Bharatanatyam dancer Subashini Ganesan, alongside Portland-based Bharanatayam/Odissi dancer Yashaswini Raghuram, explores the undefinable nature of silence through the writings of Rainer Maria Rilke, Jiddu Krishnamurti, and the Rig Veda poem, Nasadiya Suktam (10.129), which considers the origin of the universe and creation. The duet also examines contemporariness in relation to tradition, through construction, deconstruction, and reconstruction of the Bharatanatyam vocabulary and rhythm.

Ganesan is the Creative Laureate of Portland, the executive director of New Expressive Works, and was recently awarded the White Bird 2019 Community Engagement Award.

Raghuram is a professional Bharatanatyam and Odissi dancer and teacher, and performs internationally as the principal dancer and the assistant director of the Odissi Dance Company. 

***

Upcoming Performances

February 
January 31-February 8, Fertile Ground Festival of New Work and Groovin’ Greenhouse
February 2, Holy Goats!, Performance Works NW
February 5-9, Niv Sheinfeld and Oren Laor, White Bird
February 8-9, Alice in Wonderland, Eugene Ballet
February 10, Fall in Love with Flamenco, Hosted by Espacio Flamenco
February 12, Grupo Corpo, Presented by White Bird
February 14-15, Darvejon Jones Dance Ensemble, BodyVox Artist in Residence
February 14-16, Been Ready, Rejoice: Diaspora Dance Theater
February 15-23, The Sleeping Beauty, Oregon Ballet Theatre
February 21-22, Ten Tiny Dances/Corvallis
February 21-23, ORIGIN: Humble Beginnings, PDX Contemporary Ballet
February 22, Interplay, Eugene Ballet and The University of Oregon School of Music and Dance
February 22, Nrityotsava 2020, A Benefit Program for Kalakendra
February 23, Swan Lake, The Bolshoi Ballet in Cinema, Fathom Events
February 27-29, Cirque Alfonse, White Bird
February 28-March 7, Attention Everyone!, Presented by A-WOL Dance Collective
February 29, BodyVox on Tour in Medford, Oregon
February 29, Bal Utsav 2020, Hosted by Nartana Kuchipudi

March
March 5-7, Rennie Harris Funkedified, White Bird
March 7, Bootleggers Ball, BodyVox
March 6-8, Dragon and The Night Queen, Ballet Fantastique
March 13-15, Alembic Resident Artists Performance: Sarah Brahim, Maggie Heath, and Cat Ross, Performance Works NW
March 20-22, Since the First Sunrise/COMING HOME, Tracy Broyles
March 26-April 5, NINETEEN * TWENTY (world premiere), BodyVox and Chamber Music Northwest
March 29, Romeo and Juliet, The Bolshoi Ballet in Cinema, Fathom Events

April 
April 2-4, Camille A. Brown and Dancers, White Bird
April 4-5, Heaven and Earth, Eugene Ballet
April 9-12, Beautiful Decay, Oregon Ballet Theatre
April 15, ChangMu Dance Company, White Bird
April (dates TBA): Linda Austin & Allie Hankins ║ The Traveler & the Thief
April 19, A Taste of Dance, Chapel Theatre
April 19, Jewels, The Bolshoi Ballet in Cinema, Fathom Events
April 23, Drum Tao 2020
April 23-25, The Rite Of Spring, NW Dance Project
April 25-28, X-Posed, Polaris Dance Theatre
April 30-May 2, Contact Dance Film Festival, BodyVox

May
May 1-2, Contact Dance Film Festival, BodyVox
May 3: Holy Goats!Plus, Performance Works NW
May 8-9, Current/Classic, The Portland Ballet
May 8-10, Luna Mistica, Ballet Fantastique
May 12-13, Dance Theatre of Harlem, White Bird
May 15 – 17, Junior Artist Generator, BodyVox
May 22-24, ARISE: What Dance Could Be, PDX Contemporary Ballet
May 29-31, Portland Tap Dance Festival, Portland Tap Alliance

 June
June 5-13, The Americans 2.0, Oregon Ballet Theatre
June 11-13, Summer Splendors, NW Dance Project
June 12-14, Up Close, The Portland Ballet


Union PDX: Making the case for dance

Samuel Hobbs created a dance festival to showcase dance and to confront the problems the art form faces in Portland

“Don’t make work or make it work,” said Samuel Hobbs during the talk-back session of the inaugural Union PDX new contemporary dance festival in Portland. He was referring to the two options a choreographer faces in Portland, a city where the dance scene is full of creativity, but low on funding, visibility, and connectedness as a community.

Hobbs and the push/FOLD company he serves as artistic director are working toward solutions for unifying dance artists in town, and their latest idea came to reality this weekend in the form of Union PDX. The festival packed performances, master classes, educational outreach for young dancers, audience talk-backs, and Portland Dance Community Awards all into four days’ time. 

When I sat down with Hobbs to chat about what sparked the idea for Union PDX, which ran September 26-29 in the Hampton Opera Center, he reiterated that it’s come from the struggles of being a working artist in a city where two or three big names in dance are thriving. Meanwhile, the rest of the local companies and independent choreographers are all battling for their slice of the funding pie.

Under such limited conditions for artists in the city, with most mid-level companies paying out-of-pocket for rehearsal space, dancers, venue rental, videography, photography, and you-name-it, it seems natural that a lack of unity in the community has arisen due to the stress of an unbalanced system. This all equates to a lack of visibility for the dance community, especially for those artists who can’t keep up with the pay-to-play nature of presenting work here in Portland. 

So what gets lost in the mess of it all? The art. So let’s spend the next few paragraphs talking about that.

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A new festival addresses dire conditions for dance

Union PDX - Festival:19 opens on Thursday with an agenda that goes beyond the onstage performances

“As Portland (dance) artists, we aren’t provided the opportunities that we really need,” Portland choreographer Samuel Hobbs says. “ We are all scrambling for the same scraps…we need visibility and accessibility.”

Hobbs was explaining both the dire condition of local dance artists and the reason he created Union PDX – Festival:19, a brand new contemporary dance festival. Union PDX debuts September 26-29 at the 180-seat Hampton Opera Center on the river in Southeast Portland, close to MAX with ample free parking also available.

The festival, curated and directed by Hobbs, will feature world premieres by Portland choreographers Amy Leona Havin—artistic director of The Holding Project, choreographer Carlyn Hudson, and Hobbs, who also directs his own company, push/FOLD Contemporary Dance Company

“Doing your own show is great, but maybe there’s a way that we can come together and lift each other up,” Hudson said when I met up with her, Hobbs, and Havin to hear about the festival and their work. 

Artistic director of push/FOLD dance company, Samuel Hobbs, rehearsing his new work, Ash, to be debuted at his new festival, Union PDX – Festival:19, from September 26-29 at the Hampton Opera Center. Pictured left to right are Holly Shaw, Briley Jozwiak, Ashley Morton, Samuel Hobbs, and Liane Burns.
Photo by Jingzi Photography.

Hobbs has commissioned both Havin and Hudson to create new work for the festival on his company’s four dancers—Holly Shaw, Briley Jozwiak, Liane Burns, and Ashley Morton. ”Right now funding is huge! Funding and platform. To be commissioned by established institutions and to receive funding are the two biggest things that would absolutely change the game for me at this point,” Havin said.

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DanceWatch Weekly: Erik Kaiel comes home

A Jefferson High grad returns home, BodyVox intersects with the Imani Winds, Rejoice! Diaspora Dance Theatre and so much more

Choreographer Erik Kaiel and his dance company Arch8, now based in the Netherlands, will be performing in his hometown of Portland for the first time since Kaiel graduated from Jefferson High School’s dance program in 1990.

After leaving Jeff, he spent a decade in New York City making dances in subway stations, sculpture gardens, empty swimming pools, city streets, and on stages, too. In 2003 he moved to the Netherlands where he is now the artistic director of Arch8 and Crosstown Den Haag, a choreographic fellow at Danslab, and a faculty member at the Artez Dance Academy in Arnhem. In 2010 he won both the Dutch national prize for choreographic talent and the No Ballet competition in Germany.

Presented by Boom Arts, Arch8 will dance an award-winning quartet, choreographed by Kaiel in 2012, called Tetris, a work specifically made for children inspired by the 1980s video game of the same name.

Erik Kaiel’s Tetris performed by his company Arch8. Photo courtesy of Arch8.

Tetris, the dance, uses everyday movement like walking, sitting, standing, traditional dance, complex partnering and acrobatics to mimic the game’s objective—to stack and fit different block configurations into an existing block structure to create a connected line of blocks across the screen. The dance aims to explore our connections with each other, with the larger world, how we build languages of intimacy and our private inner worlds. It’s meant for “the kids who can’t sit still, for the ones who like to climb the walls, and those who can imagine further than they can see,” it says in the dance’s description. If the description is the qualifier for who will enjoy the dance, then it’s a dance for pretty much for everyone, as far as I’m concerned.

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push/FOLD: The many faces of Adam

The world premiere of Samuel Hobbs's "Early" investigates the human condition, masked and unmasked

As the audience entered the dimly lit AWOL Warehouse for push/FOLD’s world premiere of Samuel Hobbs’s Early, our first exposure was Hobbs himself, standing completely nude and still in the space. He remained in his stillness until the audience’s bustle of picking a space in the round had ceased.

With a downcast gaze and slightly torqued stance, Hobb’s posture recalled modern day Auguste Rodin’s Adam, a reinterpretation of Michelangelo’s The Creation of Adam in the Sistine Chapel. By pointing his fingers to the earth and collapsing in his upper body, Rodin’s Adam contrasts Michelangelo’s God-fearing, enlightened Adam, whose arm stretches towards a classically portrayed God-figure in the sky.

push/FOLD’s “Early” begins with a solo by Samuel Hobbs/Photo by Jingzi Zhao

During Early, Hobbs, who is push/FOLD’s artistic director, gives birth to multiple sides of himself, similar to the multiple interpretations of Adam throughout history. Hobbs has told me about a brief absence from dance when we had talked earlier in the week, and I asked him if Early was about a rebirth of himself. “’Early’ as a rebirth for myself?” he responded. “I think answering that might provide too much of a tangible thing to associate with a piece I’d like people to experience unadulterated.”

And so it went, the wonderful challenge of experiencing contemporary dance unadulterated.

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