This weekend is the opening of the New Danceworks series at Arizona State University for the 2007-2008 season. These dance concerts display the Master of Fine Arts candidates research in choreographic and performance forms. Each candidate chooses to focus on a particular subject for their thesis, which is ultimately translated into a dance performance. New Danceworks 1 presented the work of graduate students Nicole Manus, Emily Wright, and Christina Harrison.
Nicole Manus, both performed a solo and choreographed a duet. Her solo, “The Road Home,” choreographed by Melissa Rolnick, was mostly gestural and presented no climax. Even though the choreography was somewhat unexciting, Manus’s focus and intent behind the movement made the piece interesting. She was capable of completely engaging the audience with her intricate muscle usage and her incredible control. Not once did she wobble when presented with weight shifts or dynamic changes.
Manus’s choreographic creation “The Musical Joke: a table duet,” was an inspired by Mozart’s inversion and retrograde cannon compositions, known as table duets. Throughout the piece the dancers performed fun, quirky movement in which they begin to retrograde at the middle of the piece, following the form of a Mozart table duet composition. The musician’s were live, giving the piece extra authenticity to the topic. Manus also used tables as props for the dancers to dance on, which exemplified the idea of a table duet not only though movement with the dancers or the Der Spiegel composition the musician’s were playing, but visually for the audience also.
Emily Wright performed a solo as well as choreographing a group piece. “Sonata,” choreographed by Karen Schupp for Wright explored the mixture of Baroque music and modern dance. The choreography was elegant and graceful. Each movement flowed seamlessly, the transitions were well crafted. Even though the music and dance styles come from very different era’s, the two complemented each other very well in this choreographic instance. Although the choreography was successful, Wright seemed to shorten her kinesphere. Her lack of conviction with the momentum the piece provided made her look extremely small on a large stage.
Wright’s group piece, “Not Yet,” was a powerful portrayal of how movement of the body is capable of presenting religious messages. She used video as well as live dancers to show how the body successfully conveys meaning. The well edited videos focused on specific parts of the body, a view the audience would not have otherwise be able to grasp. The first section of the piece choreographically, was extremely powerful. The choreography was simple, yet captivating, and the performers exuded an infectious energy. Unfortunately the second section of the piece was not nearly as strong, leaving the audience wanting more from lack of closure or force that the first section did provide.
Christina Harrison, choreographed two pieces influenced by the work of Henri Matisse. The first piece “Ode to the Blue Nudes” was inspired by Matisse’s painting Blue Nudes. The dancers wore simple blue costumes which complimented the interesting design of the white fabric that was hanging as well as on the floor. The piece itself was soft and cool, yet dynamic and athletic at the same time. Harrison demonstrated a unique sense of architecture, creating visually stunning shapes with the body. Her dancers (which includes herself and two others) were completely aware of each other’s energy and space at all times, making each shape and picture Harrison choreographed clear.
“The Defining Line,” literally took my breath away. This time, Harrison was inspired by Matisse’s The Green Line. Her soloist Jean Kelley, phenomenally captured the audience with her piercing presence incredible movement ability. Her, as well as the other four dancers, relationship to the painter was significant and clear. Every single person on that stage knew who their character was, the importance of the movement to the character, and immersed themselves whole heartedly into the piece. Watching “The Defining Line” was having the privilege of witnessing beauty unfold before the eyes.
ASU’s post-graduate dance program is one of the top in the nation, and after watching New Dance Works 1, it is clear as to why the program is ranked so highly. The candidates in this show presented thoughtful work. I am looking forward to witnessing New Danceworks 2 on December 4th.
