To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, dance artist Penelope Freeh shares her perspective on CCN-Ballet de Lorraine’s performances of Fabrications, Sounddance, and Devoted last night. Agree or disagree? Feel free to share your thoughts in comments!
The CCN-Ballet de Lorraine program opened at Northrop with Devoted, a dance by choreographic duo Cecilia Bengolea and Francois Chaignaud. Wearing variations on an emerald green leotard, the nine women on pointe also had geometric face paint, corsage-like bows on their shoulders, and/or a single stocking on one leg.
Devoted was fierce and challenging, to dance as well as to watch. It opened with the dancers doing distorted chaine turns, lower backs arched and arms unhelpfully behind them like low wings. Set to music by Philip Glass, the dance was as relentless as the music, and then some.
This work placed extreme ballet tropes (running and jumping into the splits, distorted chaine turns, balancing in sous-sus for forever) alongside pop cultural clichés like the moonwalk, twerking, and breakdance-esque partial spins on the back with legs splayed then folding. The combination of these aesthetic forms was a fun surprise and well handled, formal and casual. Repetitive passages unfolded, varied, developed. The movement was athletic, leggy and wildly difficult technically, mostly due to the pointe shoes, though it’s fair to say that some technical feats are in fact easier when fully up on pointe versus demi pointe, when the calves strain with responsibility.
There was a nice dynamic shift when a quartet occurred. Three women balanced like tree-statues while a soloist glided among them. Her entirely backwards vocabulary was mesmerizing, particularly in how it navigated pointe work.
The piece ended with the music finishing and the dancers continuing, the sounds of their shoes audible, a reminder of the hardness and the work.
Next up were two works by master dancemaker Merce Cunningham. Fabrications featured a painted upstage scrim by Dove Bradshaw that had drawings resembling both mechanical objects as well as chambers of the heart. The fifteen dancers, clad in gender specific street clothes, accomplished the Cunningham style cleanly and neutrally. They let the work speak for itself, exemplifying the patience it takes to enter in.
Arms were often held in a neutral open 5th low while the legs extended, balanced, tilted, rotated. The movement resembles ballet and is indeed incredibly technically challenging, but there is a grounded difference, something about the relaxed torso, the frank expression, those arms finished with hands, just hands, not flowers of articulated fingers.
Coupling images emerged in unsentimental partnering, lifting and supportive balances. At one point all the couples did the same slow counterbalanced phrase but in different phases so that we could see all of it at once. The use of plié was magnificent, and I wished I could’ve seen its full expression had it not been for those dresses.
There was a blur of a running trio, identical dynamically fast footwork in triplicate. This was my favorite tiny moment exemplifying Cunningham’s mastery. His layering of events is just enough. There is a lot going on simultaneously but somehow the eye doesn’t get tired, it gets an education. All that movement adds up to something, and one can’t help but be moved by the sheer force of dancers doing what they do, mining the grand physicality.
Sounddance closed the show, and I am so glad I changed seats in order to view this at closer range. The work had me at hello with its decadent curtain-collage décor in pale peach. Its heavy folds and sensuous curves both framed and participated in the dance.
The ten dancers entered singly, adding in to the space with aplomb as they burst through the center curtain of the set. It’s so satisfying to watch people repeatedly enter this way, unabashedly flashy yet in the context of a Cunningham work it was business as usual, neutral and not commented upon.
This dance too had lots of coupling, with nice movement diversity and panache. There were variations of lifting and turning, each couple occupying their own timing and spacing. Groupings of dancers regularly came together for en masse sculptural moments. These blended beautifully with the drapey set, placing the bodies in relief against it for brief, baroque stillnesses.
The music by David Tudor supported and propelled this dance ever-forward with its driving electronica. The accumulating effect was one of suspense as one by one each dancer exited as dramatically as they had entered, through the drapery, flapping it wildly. The piece began and ended with a male soloist, soft, fluid, precise and young seeming.
This seminal work premiered in 1975. I felt a thrill at the reminder that, from baroque to classical to post-modern and beyond, dance is a living art, wonderfully and heartbreakingly ephemeral. I spent the whole piece thinking it was aptly titled Sundance. I have since noted my mistake but will always think of it as a piece of light, a fractured, radiating hope.
CCN-Ballet de Lorraine’s performances of Fabrications, Sounddance, and Devoted was copresented by the Walker and the Northrop on February 16, 2017 as part of the exhibition Merce Cunningham: Common Time, on view in the Walker galleries until July 30.