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Luminarium Dance’s ‘Hiveland’ – Dance Informa Magazine

Luminarium Dance's 'Hiveland' - Dance Informa Magazine





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Multicultural Arts Middle, Cambridge, Massachusetts.
September 21, 2018.

A number of the greatest artwork leaves open room for interpretation – not sufficient so to lack course, however sufficient to supply viewers members a couple of paths down which they will journey. It presents questions with out prescribing a completely “correct” reply. Luminarium Dance’s Hiveland, choreographed by Inventive Administrators Merli V. Guerra and Kimberleigh A. Holman, exemplifies such artwork. Though sure elements on structural and motion phrasework ranges might be ironed out, the work general was thoughtfully constructed, thought-scary and aesthetically compelling. I might see the Boston-based mostly firm’s mission in motion; “Luminarium is more than a dance company. … It is a think tank, a museum, a gallery for contemporary dance and for contemporary ideas,” (; the work delved into huge concepts and explored thrilling territory.

Jess Chang and Katie McGrail. Photograph by Nicole Tomaselli.

Thriller hung heavy within the air from the primary lights shining, the primary notes ringing out and the primary actions. A clump of dancers, wearing black, stood off stage. They circled their torsos with arms reaching up overhead. At different occasions, they reached in numerous instructions, as if looking. Pretty gestural work turned expansive by way of shifting in a number of planes in area; for example, one arm reached up excessive whereas the opposite reached ahead at shoulder peak – a manipulated fourth-place port de bras. A theme of fall-and-recuperate, of dropping management after which regaining it, additionally turned evident.

One mild shone from offstage proper, bringing the sensation that the dancers won’t be capable of actually see that for which they searched. The music (from composer Christos Zevos) was simply atonal sufficient to contribute to this air of secrecy, whereas stopping in need of being ear-grating. Simply as mysterious, a six-sided form dropped in from above, to land downstage middle. This form appeared to have an inexplicable energy; the dancers appeared concurrently scared of it and drawn to it.

They danced, and now and again, one performer would draw nearer to the form, creeping nearer in intrigued but fearful hesitation. A piece of companion work adopted. The pair of dancers have been dedicated and fearless, but the motion lacked the convenience and depth of nuance elsewhere within the piece.

Lastly, one dancer stepped inside the form. She was not harmed, nor all of a sudden missing self-management, nor all of the sudden experiencing another adverse impact. I questioned if extra might have been manufactured from this second, dramatically talking, contemplating the mysterious rigidity constructed round this form. In any case, she stepped out, and the motion of dancing continued.

The group clusters around Amy Mastrangelo. Photo by Nicole Tomaselli.

The group clusters round Amy Mastrangelo. Photograph by Nicole Tomaselli.

A putting picture that adopted was one dancer holding a hand over the middle of the form while operating, like a horse in a thriller movie merry-go-spherical. Then, one other dancer rose above her, circling arms as if making a halo – an angel overhead. Whereas I’m not fairly positive how this second match into the general environment and thriller round this six-sided form, it was an attractive picture and second of concord.

Because the motion continued, the form appeared to realize energy; all of a sudden a dancer was drawn to it however couldn’t penetrate the area above the form on the ground. Then, the dancers tried to push each other away from the area to get nearer themselves – setting in place a pack mentality “one-ups-manship” that might be a predominant theme within the the rest of the piece. The long-lasting novel Lord of the Flies, which dives into the human want for energy and conquest once we co-exist in teams, got here to thoughts for me. After this pushing and preventing for dominance, the dancers dispersed to clumps upstage.

These clumps turned strains, and features turned smaller teams that traveled throughout the stage in diagonals. The transitions between formations have been as compelling and seamless because the phrasework – a clean stirring-collectively of turns, extensions and footwork. Arabesque leaps turned à la seconde turns, touchdown in a deep second place plié. The dancers have been so commanding, and the motion so compelling, that this part made me need extra sections with one of these virtuosity within the work (though it was on no account the one such part, solely maybe probably the most memorable).

One other intriguing component at play right here was using small purple dots, in a six-sided form – simply the identical because the bigger form. The dancers unfold these dots across the area at numerous factors. I questioned if these represented some kind of power or feeling, another mysterious which means, or have been simply an aesthetic addition. An analogous facet was the purple shin guard-like costume additions, which the dancers by some means placed on by stepping via the hexagon form (which, at that time, had black material draped over it). One interpretation is, this six-sided form being one a part of a honeycomb in a beehive, all parts within the work have been coming collectively to create a world of this beehive – therefore, the title, Hiveland.

Devon Colton, Jennifer Roberts, Melenie Diarbekirian and Alison McHorney with the company. Photo by Nicole Tomaselli.

Devon Colton, Jennifer Roberts, Melenie Diarbekirian and Alison McHorney with the corporate. Photograph by Nicole Tomaselli.

But all of those parts appeared pretty open to different interpretations. Viewers members might convey their very own creativeness, pursuits and fears to the work. The music, motion, lighting and props – all of those parts had the potential to enliven these imaginings, ideas and emotions. New layers of thriller have been on show with every new part. One part with such a transparent new layer of thriller was a duet, one happening totally on the bottom – making it a lot decrease than a lot of the dancing within the piece. One dancer draped herself over the again of her companion, they usually rolled in a ball. Pure motion and the legal guidelines of physics appeared to be probably the most significant elements at play right here.

There have been additionally extra private moments comparable to fixing one another’s hair and clothes – a few of which turned humorous. This made me crave extra moments of humor and coronary heart within the work, but maybe that wasn’t its atmospheric and emotional weight. An intriguing trio part adopted this duet, bringing that pack mentality “power-play” feeling. At one level, a dancer had her foot on one other dancer’s again, who was folded ahead with a rounded backbone. As she stacked her backbone up, the dancer together with her foot on her again had a better and better développé develop. Because it acquired to the extent of her stability and adaptability, she landed that foot right down to take a robust second place plié.

At one other level, two dancers pressured a 3rd dancer’s foot on a purple dot, and she or he couldn’t take that foot off it. Her motion right here evoked discovering expression and enlargement amidst constriction. Different group sections occurred, with a further pink clothes gadgets – totally different variations of vests and shirts. The individuality in these clothes items was refreshing, given the overall lack of individualization of the separate dancers within the work.

But one dancer by no means placed on a pink clothes merchandise. At one level, all the different dancers gathered round her – not seeming violent however definitely feeling threatening. This second spoke to the isolation, and the turning into threatening to a majority group, inherent within the expertise of being an outsider. Quickly got here extra spectacular, putting unison sections – once more, making me need extra of this virtuosity within the work. Nuanced gesture met power in a phrase of bending into plié and pushing the palms ahead.

Jennifer Roberts (soloist) amidst the company. Photo by Nicole Tomaselli.

Jennifer Roberts (soloist) amidst the corporate. Photograph by Nicole Tomaselli.

The autumn and get well of the start returned with motion comparable to an arabesque that cantilevered ahead till coming off stability, to then return to stability as dancers pliéd into the touchdown.

This motion wound down as dancers gathered at upstage proper, across the pentagon form, which had re-emerged, draped in black material. The dancers reached in to return out with blue armbands. A little bit of motion commenced, after which the lights went down. I used to be left with many questions, and needed time within the work with the dancers sporting these armbands to probably reply these questions.

Maybe the objective right here was a way of continuity, that such motion would proceed on this group of dancers – whomever they could be or no matter they could symbolize. As with the remainder of the work, maybe elements of the strategy might be reconsidered, but – all in all – the aesthetics and large concepts at play left me intrigued. I had questions, moderately than prescribed solutions. Artwork able to leaving audiences in that state has us persevering with to seek for the solutions ourselves, and life turns into all of the extra intriguing.

By Kathryn Boland of Dance Informa.

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