November 08, 2012|By Merilyn Jackson, For The Inquirer

Three works by Italy’s Mauro Astolfi crown this fall’s dance season in Philadelphia, as a flurry of new pieces – from him and others – take to two local stages only a week apart.

Arriving in Philadelphia from Rome just before Sandy, Astolfi worked through storm-related delays to make Instant God for BalletX, which the company is premiering this week at the Wilma, along with new work by Matthew Neenan and Kate Watson-Wallace. And next week, Astolfi’s highly regarded Spellbound Contemporary Ballet debuts here with two Philadelphia premieres presented by Dance Celebration at the Annenberg Center.

Spellbound has been touring the United States on a subsidy from New England’s National Dance Project, the only European company to be chosen last year by the project. When BalletX cofounder Christine Cox saw them in New York in January, she sensed Astolfi’s sensual yet cerebral choreography would be a good fit for her company, and it wasn’t long before a BalletX commission was set.

“Working as a freelance choreographer in Europe,” Astolfi said, “I sometimes find the young dancers complain – about what time rehearsal is over, about traveling too much because they can’t recover. They want to be taken care of. For some, it’s just a job. But you can’t do this work just for money. It’s impossible.”

On the other hand, he said, after only three days of rehearsal, the BalletX dancers already were taking to the shape of Instant God.

“If I were here for a month,” he said, “they would look like my company. These dancers are hungry, and they can do anything. They are professional and don’t just work as a job.”

Dance companies in several countries have commissioned him in recent years, including Chicago’s River North Dance, which is coming next spring to the Annenberg.

He says he never comes to a company with preconceived ideas, “because when I meet the dancers, I just change everything. I need to feel their energy. So I’m trying to create an atmosphere and using an ambient soundscape created by Not From Earth for this piece.”

Neenan, BalletX’s co-artistic director, said, “In less than two weeks, Mauro and the dancers have created a dance that is sculptural, intimate, entangled, and precise.

Instant God is the darkest work on the program,” he said, “so we decided it should open, and my own work Switch Phase, which is more upbeat, closes it. We put Kate’s piece in the middle because it contrasts with both – it starts dark but gets funky, wild, and fun by the end.”

New York Times critic Alastair Macauley wrote warmly about Switch Phase after its world premiere over the summer at the Vail International Dance Festival and recently praised Neenan’s Party of the Year, saying the choreographer “is emerging as one of today’s foremost dance poets of American behavior and society.” Switch Phase was originally presented with the string quartet Brooklyn Rider performing onstage; here, the music will be recorded.

Watson-Wallace has been the Philly dance scene’s It Girl for more than a decade and received a Pew Fellowship in 2007. She may be best known for her Live Arts Festival trilogy House, Car, and Store. ( Car was performed for an audience of three in the backseat, surrounded by spectators who might have been witnesses to an accident.)

Those were site-specific works for small spaces, but last year, she began choreographing again for the stage. For BalletX, she’s made I Was at a Party and My Mind Wandered Off, which she calls a “nonlinear work that functions like a dream, a lot of washes of imagery – some futuristic and some animalistic or from nature.”

Fans of the impishly sexy and versatile dancer Tara Keating will be sorry to hear that this run marks her final appearance with BalletX. Keating danced with Pennsylvania Ballet from 1998 to 2008 and, in her last three years there, was also a founding member of BalletX, in 2005. She will continue as artistic coordinator and become the company’s ballet mistress.

In Dance Celebration’s program next week at Annenberg, Spellbound, which Astolfi formed in 1994, performs Lost for Words and Downshifting. While Italy is not short of highly regarded contemporary-dance companies and choreographers, Astolfi and Mauro Bigonzetti among them, Astolfi said that politicians and funders have not fully embraced the genre and have given very little support. They back traditional art forms, “the classical,” he said.

“To us, they say, ‘Oh, you’re fantastic, you’re one of the best companies – we’ll help you,’ but they promise, and they don’t fulfill their promises. Their words are empty. This was the inspiration for Lost for Words.”

Downshifting “is like the person who is changing the quality of life, maybe changing his job or going in another environment,” he said. “And we were changing some of our dancers and moving away from Italy a bit, and so I found this word in English, and I thought it was the right title for a dance.”

Spellbound, Nov. 15-17 at the Annenberg Center, 3680 Walnut St. Tickets: $20-$55. 215-898- 3900 or annenbergcenter.org.

Fall Arts Preview: Dance

Merilyn Jackson for The Inquirer
Posted: Saturday, September 15, 2012, 8:00 AM

Seeking common ground for Philly’s dancing feet in the coming season, I found it in the city’s galleries and academic, scientific, and ethnic institutions. The exploratory and collaborative nature of the work that will take place in them could hold extraordinary surprises, given the people creating it. The dance-makers are Philadelphia artists, Nichole Canuso, Merian Soto, Kun-Yang Lin, and Meredith Rainey, who have proven themselves innovators and who bring personal charisma to their stage work.

All were born here, and stayed or returned because of the city’s supportive atmosphere and fondness for the arts. The institutions they’ll take over, from the American Philosophical Society to North Philly’s Taller Puertorriqueño, serve diverse communities, uniting them through the arts.

Other companies and presenters are institutions in themselves. Joan Myers Brown’s Philadanco has been breaking ground for 43 years. Pennsylvania Ballet is nearing its 50th anniversary with one of its most talented rosters ever. Now in its 30th year, Dance Celebration at Annenberg Center has always been the leader in importing dance. And there are always new venues – like Skybox 2424 Studios in a rehabbed factory in a flowering Fishtown neighborhood – that enrich their communities by making the arts more available to them.

Here are 10 events that promise to give you something new to think about, to make you laugh, or cry, or to just plain thrill you.

“Return Return Departure” (American Philosophical Society, Wednesday, Friday, Oct. 5 and 20, Nov. 17, Dec. 8, 215-413-9083 http://www.apsmuseum.org/nichole-canuso) What better place to set a duet reflecting on the love and study of knowledge and time than at the American Philosophical Society? At sunset, you follow choreographer Nichole Canuso and dancer John Luna as they dance from the gallery showing of Antonia Contro’s exhibition Tempus Fugit: Time Flies into the enclosed garden, where they film each other in an evolving video record of their inquiries that then can be seen back inside the gallery.

SoMoS (Taller Puertorriqueño, 2600-24 N. 5th Street, Oct. 12) Merián Soto’s work features three large geodesic tents and an outdoor performance area with simultaneous performances for audiences to move through at will. In this culmination of her seven-year Branch Dance Series, which included the One Year Wissahickon Park Project, she transforms the parking lot at Fifth and Huntingdon Streets into a quiet carnival of nature images, sounds, and movement invoking the seasons. It’s part of Taller Puertorriqueño’s free performance series, Café Under the Stars: Spotlighting the Arts in El Barrio, and takes place where Taller plans to build its next home.

Lar Lubovitch Dance Company (Annenberg Center, Oct. 11 to 13, 215-898-3900 or [email protected]) Dance Celebration opens its season with the Philadelphia premiere of Crisis Variations (2011) to Yevgeniy Sharlat’s commissioned score. The piece won Lubovitch the 2012 Benois Prize; he is the first American choreographer to receive it. The ethereal 1978 North Star to Philip Glass’ score, and The Legend of Ten, a 2010 work to Brahms choral music, fill out the program.

Symphony in D Minor Skybox 2424 Studios, Oct. 20, Nov. 2, Dec. 2, http://kunyanglin.org) New York artists Chris Klapper and Patrick Gallagher create an epic interactive sound and video installation, accompanied by Philadelphia-based Kun-Yang Lin at Fishtown’s 2424 Studios. They’ll “harness a thunderstorm” within a series of large hand-cast resin sculptures that will hang 40 feet below the ceiling, suspended within reach. Audience members set the symphony in motion by gently pushing the forms and triggering the sound elements – recordings of thunder, lightning, wind, and rain. Soloist Kun-Yang Lin can dance up storms of his own – he’ll be a match for whatever weather Klapper and Gallagher order up.

Giselle (Academy of Music, Oct. 18 to 28, 215-893-1999 http://www.paballet.org) Pennsylvania Ballet dances the traditional Maurice Petipa choreography, as it has since 1988, when it opens its season with Giselle. Sixteen-year veteran principal dancer Arantxa Ochoa retires after this Giselle, in which she once again dances the role of the peasant girl who falls in love with a prince. When he betrays her she dies, but then rises from her grave to protect him from being danced to death by the vengeful Wilis – young women who died before their wedding day, but whose love of dancing keeps them on their toes all night.

Science per Forms (Christ Church Neighborhood House Oct. 25, 27 and 28, www.carbondancetheatre.com) Meredith Rainey’s Carbon Dance Theatre initiates a collaborative series of dance and scholarship events that examine “the epistemology of technical, virtual, and robotic culture through the interface of balletic-based dance and interactive installations.” Sense a touch of academe? Rainey is working with the Hacktory, a digital technology lab and artists resource center, and with professors Simon Kim and Mark Yin (Penn) and Mariana Ibanez (Harvard) to create a robotics environment where audience members will interact with cyborgs, dancers, and robots. Former Merce Cunningham dancer and Bessie-winning choreographer Jonah Bokaer takes part in the heady high jinks.

BalletX (Wilma Theater, Nov. 7 to 11, 215-546-7824 balletx.org) At 7 you supposedly reach the age of reason; for BalletX its seventh year marks the age of recognition. The Xers are embarking on another ambitious program of two world premieres and a Philadelphia premiere. Philly’s wild-child dancer/choreographer Kate Watson-Wallace challenges the ballet-trained troupe to enter her playpen with an as-yet-untitled new work. Italy’s Mauro Astolfi is almost too hot to handle right now, and with this BalletX commission you may get a taste of what will be on stage the following week at the Annenberg Center, when Astolfi’s Spellbound Dance Company performs there. The finale has to be codirector Matthew Neenan’s Switch Phase, which premiered to acclaim at the 2012 Vail International Dance festival.

Spellbound Dance Company (Annenberg Center, Nov. 15 to 17, [email protected]) The Italian troupe makes its Dance Celebration/Philadelphia debut as part of its first North American tour. The program includes founder Mauro Astolfi’s Downshifting (2009) and Lost for Words (2011). Commenting on personal choice and will, “downshifters” imagine an alternative future in order to realize life more fully. Lost for Words mixes fluidity and virtuosity while reflecting on the role of language in human relations. These works feature music ranging from 17th-century virtuoso violin composer Heinrich Ignaz Franz Biber to today’s electronica of Loscil.

Philadanco (Kimmel Center’s Perelman Theater, Dec. 7 to 9, 215-893-1999 http://www.kimmelcenter.org) From triumphant appearances in world capitals during their rugged annual tours to sold-out houses at their Kimmel Center home base, Philadanco is both crowd-pleaser and artistic success. At 80, Joan Myers Brown still rules the roost, doing the programs herself. For this home season, she so far has scheduled Wiz choreographer George Faison’s Suite Otis (to music of Otis Redding), and the Philadelphia premiere of Matthew Rushing’s Moan (to Nina Simone).

Read more: http://www.philly.com/philly/entertainment/arts/preview/20120911_Seeking_common_ground_for_Philly_s_dancing_feet_in_the_NO_HEAD_SPECIFIED.html#ixzz2CEbba5XK

Monday, September 17, 2012

By Merilyn Jackson

A huge, hexagonal, cagelike structure that reached to the ceiling commanded the space inside Pier 9 on Friday night for the premiere of The Gate Reopened by choreographer Brian Sanders’ company, Junk. Surrounding it was a packed audience.

As Sanders’ eight muscular performers — six men and two women — emerged, fleetly circling the Gate’s base to the wild cheers of the crowd, I couldn’t help but see them as gladiators. Instead of fighting each other, they fought height and gravity, calculating risk as they swung on bungees or launched themselves like simians against the chain-link fencing, which they gripped only by their fingertips and the J-hooks on their boots.

Sanders’ work is always thrilling, inventive, daring, ingenious and very witty. It was gratifying to see him have a free hand with a good budget for the set and the Pedro Silva/Conrad Bender lighting design. The men — Connor Senning, Gunnar Clark, Teddy Fatscher, John Luna, Billy Robinson, and Tommy Schimmel — and the women, Jerrica Blankenship and Tamar Gutherz, were all topless, so the low lighting was perhaps to cast them in shadow.

Blankenship and Gutherz performed daredevil feats on a swinging ladder. Robinson took a big leap from the top into a watery canvas, only to be caught up in a sheet of plastic and then writhe his way out again. A mist sprayed them all in the final moments, catching the light magically and casting a mystical cloud over the scene. This was one of those performances where the line between dancer and athlete was blurred, if not obliterated. Indeed, the crowd strolled out into the fine evening in high spirits, as if we’d just been to a sporting event.

I enjoyed seeing how far the Polish dancers have come into the world of Western contemporary dance. From their concert, I’d say they are now in various stages from the 60s to the 80s when contemporary dance first began to trickle into Poland. But you must eat all of the banquet if you are ever to digest its meaning. And these three have a good appetite for it.

Izabela-Chlewinska-Tralfamadoria-photo-Katarzyna-Madzia

My review of their Sept. 15 2012 concert:

Three Polish dancers made their American debuts Friday evening at the modest Mascher Space up on Cecil B. Moore Ave. Though their paths have crossed in Poland and two have worked with each other in the past, their movement esthetics diverge except for the fact that each uses sound/music very minimally, if at all.  Izabela Chlewińska lives and works in Warsaw, but has also performed in Germany, Mexico and Japan. In a doll-like little white dress, she writes out the story of her concept on an easel filled with large sheets of paper. She takes us to the land of Tralfamadoria, a riff on Kurt Vonnegut’s work (which was very popular in Poland) in that her work is non-linear, episodic and elliptical. It’s when she strips to her body stocking that we see what an original mover, even a contortionist, she is. In the Zoo section, she takes to the floor in an exquisitely high back-bend, head facing us and scuttles crab-like from side to side. She strikes sharply angled poses, bent-elbowed arms splayed out along her body while her chest and torso rise pointing to the ceiling or lies on her side like an odalisque or such as you might see when a leopard is in repose. Finally, she dedicates the dance to her father. But why? Did he introduce her to Tralfamadoria? Is this a remnant of a childhood memory lived just before the bizarre life lived under Communism dissolved? Maybe nothing of the sort, but I love works that raise more questions than they can answer.

Marysia Stokłosa’s Vacuum didn’t spare us from questions either. Wielding a vintage Electrolux canister vac (I had a similar one for many years), she literally swept the entire large space with it, criss-crossing from right to left, even insinuating it under the feet of the people in the front row. She re-covered the entire space from front to back running in reverse, so I thought, probably incongruously, of a warp and weft imaginary weaving of the space into one large fabric for her to dance upon. Lest you think this sounds too serious, Stokłosa disappears into a side restroom and runs the shower returning to us in a bathing suit the same vintage as the vacuum cleaner, and sopping wet, belly flops on the floor, flinging and flopping like a fish out of water. To Chopin, she dries her hair with the vacuum. Hah! Is she saying it’s time for Poland to wash that fusty romantic self-image away? I hope so, but that’s just me.

Each dance seemed born of a big idea realized with an economy of movement and a great take-it-or-leave-it confidence including the final work, Le Pas Jacques. By Magda Jędra, who is co-founder of Good Girl Killer in Gdansk, she starts with both feet planted on the floor while she scoops and swoops the air with her arms. She pulls a Babci shawl from a nearby paper bag and ties her ankles together with it, her wrists with another piece of clothing and then bruisingly jumps around, falling often until she loosens her bonds. I had to leave for another show so I regrettably couldn’t stay to see the rest. But I ran into her at the supermarket today and she had cabbages in her cart for tonight’s show. So, Kapusta anyone?

$15 Mascher Space, 155 Cecil B. Moore Ave. tonight and Sunday night, 8 p.m.

This morning I lost one of my dearest friends and most important musical role models, and the world lost one of its best composers. Bill Duckworth was diagnosed with pancreas cancer a year ago last February. He got into a state-of-the-art therapy program, and had the disease in remission, and for quite a few months it looked like he was going to beat one of the fastest and most lethal cancers there is (and the same one that killed Morton Feldman). But he finally started having bad reactions to the chemo, and it wore him down. I had heard about a week ago that he had decided to go off chemo, and he went fast after that, slipping away about midnight last night, according to his wife Nora, who called this morning.

to read more: http://www.artsjournal.com/postclassic/2012/09/strange-times-william-duckworth-1943-2012.html#respond

The #16 tooth came out Aug 10! By Dr. Daniel Taub who also debrided all the infection, fixed a hole in the sinus (blown by the extraction of the #15 tooth in front on May 10 — they make you sign a release because that can happen) and a biopsy and ten stitches, put me back on another course of Amox-clav. I was right, there was lingering infection throughout BUT BEC I DIDN’T HAVE A FEVER no one seemed to believe me. Arthur and I both like this guy Taub at Jeff. A shame I didn’t get to him in April when they messed up my appt. But I doubt he would have gone in this thoroughly without as good an understanding of my case he now has. even with the pain from the surgery I can tell its different. And my brain is working better. The stitches come out Friday and I am able to drive, work and think, I think. So that’s the mortal f–king pain I was living with. I’ll never know how I got through my poetry workshops in that condition.

And I want to know why neither Dr. Barry Rhome nor Dr. Allen Shaw could not have suggested I have this done. Both told me they couldn’t help me. When Dr. Taub said “Look, as long as I have you under for the extraction, I’m going in all the way from the #16 to the #12 to see what’s going on,” I nearly dropped to my knees to kiss his shoes. I said “What made you think of that?” He said, “Just seems like the logical thing to do.” Bless his heart and his family forever.

June 18, 1999|By Merilyn Jackson, FOR THE INQUIRER
Want to learn a new language in a week?

2000 Feet’s 25 or so troupes from abroad, and a few American companies with foreign roots, speak in many languages, both verbal and body. Just reading about these dancers could add a bunch of new phrases to anyone’s vocabulary. Seeing them perform can teach the universal language of dance.

Here are some that intrigued us:

Contemporary

With 50 works to her credit, 35- year-old Chinese-American choreographer Li Chiao-Ping, of Li Chiao-Ping Dance, has established herself as one of the young forces majeurs of modern dance in the United States today. Her video/dance works, often made in collaboration with noted video artist Douglas Rosenberg, are shown at film festivals around the world. The programmers surely made a mistake in not scheduling her pieces as one of the festival’s main attractions. But their mistake is your gain. Fin de Siecle, I and II, will be shown twice: 2:30 p.m. Monday at a free lecture/demonsration at the Arts Bank, Broad and South Streets, and in a public performance late Thursday night.

(A brief digression about schedules: All public performances recommended here are listed on Page 26. Many other opportunities to see and hear about dance this week, including dozens of “lecture/demonstrations,” are mainly for conference registrants but are free and open to everyone, space permitting. A schedule of those is in the Festival Guide available at all events, and at the Inquirer’s site on the Internet: http://entertainment.philly.com/2000feet/)

Fin de Siecle is an amazing 22-minute dance. Li, a powerhouse dancer, is still recovering from an early-winter auto accident; her Part I solo will be danced by Walter Dundervill and Part II by the full company of four. Watching Fin de Siecle is a perfect way to learn what is meant by the term “postmodern dance.” Li’s costuming, for instance, is reminiscent of the Italian futurists and the Bauhaus – the things that started all this early in the century. The choreography moves robotically, athletically and even balletically through the styles of the century, yet all the while it is clearly influenced by Chinese dance training. The piece will represent the genre well into the next century.

Tuesday evening at the Drake, Dundervill performs Chi, Li’s signature dance. Before her accident, Li had been working on Satori (which the company premieres on the same Tuesday program), a piece to music by Japanese shakuhachi master Riley Lee. In it, she works on extreme uses of the body but shapes awkward movements into gracefulness. “Since I no longer could use my own body to investigate or demonstrate with, I relied on my visual sense to create this work – a different process for me,” she told me by phone from her home base in Madison, Wis.

Postmodern dance turns modern and classical dance inside out – rather like wearing a couturier ball gown with the inseams, boning, and zipper placket exposed so that you see its structure, how it was made. Practitioners often use technologies and text, anything that helps them pull together and make sense of the artistic forms and political events of our times. One of the beauties of these contemporary dance forms is their ability to enfold other cultures and traditions and reinterpret them.

The following companies are also steeped in these techniques and represent the way the genres are developing in their home countries. Their performances, like all the public performances in 2000 Feet, are parts of mixed bills with several other companies.

A not-to-be-missed performance will be Nai-Ni Chen Dance Company’s Dragons on the Wall, Wednesday evening at the Merriam. Featuring a live performance by the ethereal soprano Joan LaBarbara, who composed the music, Dragons is part of Chen’s ongoing series called “Calligraphy.

Chen, like Li, is Chinese American, having arrived from Taiwan in 1981 to study at New York University at the age of 22. She, too, works in postmodern idioms with some martial-arts influence, but even more clearly lets her early traditional Chinese dance training shine through. An exquisite dancer, she will perform in a longer version of Dragons at the lecture/demonstration at 2:30 p.m. Tuesday at the Arts Bank.

For Chen, dance is not just physical expression. It has visual elements, too. “Calligraphy is like painting,” she said by phone from her studio in Fort Lee, N.J. “Within it, you can find parallels to many artistic `isms’ – the lines get blurred today.”

France’s Companhia Ladainha blurs ethnic lines so much it is almost impossible to identify the soil from which their new “isms” spring. Laina Fischbeck – the daughter of German-born Manfred Fischbeck, who founded Group Motion here in 1968 – left for France more than a year ago and met up with a dancer from the Rennes-based company while studying in Normandy. After an audition, the company invited Fischbeck to join.

When pushed to name her top five picks, 2000 Feet codirector Susan Glazer included Ladainha: “They surely will be one of the big hits of the festival.” After seeing their preview at Kumquat last weekend, I agree. Brazilian Capoeira master and company cofounder Armando Pekeno delivers an adrenalin rush to movement junkies, and Fischbeck has never danced better. She trains six hours a day in Capoeira, an Angolan-style martial art disguised as dance, and Candomble, a danhe training has dispelled Fischbeck’s old South Street ennui and imbued her body with a mysterious new energy and intelligence. She and Michele Brown, the other cofounder of the French company, and three other beautiful dancers were tres formidable with their ataques and take-downs.

Like tai chi, the Capoeira disciplines that Pekeno and Brown base their choreography on can be forceful and sudden, but is rarely violent-looking. The most explosive movements are when the five women, lying on their backs, jerk their bodies upward, momentarily levitating a foot or so off the floor. The musicians who accompany them – and sometimes dance – in ORU: Heat, Vapor, Energy, make percussive musical dynamism that more than matches the title. They’ll perform on Tuesday afternoon, with a generous lecture/demonstration at 4 p.m. Thursday at the Arts Bank.

Australia’s Expressions, another highly physical troupe, created quite a buzz when they performed in the United Kingdom a couple of years ago. Here they bring extracts from Jigsaw, a later work. Company members are known for their hell-bent cleverness and hilarious takes on just about everything. By e-mail, they describe Jigsaw as “a hybrid of several disciplines, including ballet, that explores phobias.” They’ll perform Thursday evening at the Merriam, and give a lecture/demo at 10 a.m. next Friday at the Arts Bank.

Transitions is a London-based professional company that accepts only the top graduated dancers and gives them the opportunity to work with Europe’s award-winning choreographers. They’ll perform a 1999 work for four men and one woman that contrasts spiraling athleticism and still moments to music by Fred Frith. Another piece – to music by the Klezmatics – is a high-wired, high-velocity dance on the same Tuesday night program at the Merriam. A demonstration at 1 p.m. Thursday at the Arts Bank offers a chance to see the company’s hits from last year.

Transitions is a London-based professional company that accepts only the top graduated dancers and gives them the opportunity to work with Europe’s award-winning choreographers. They’ll perform a 1999 work for four men and one woman that contrasts spiraling athleticism and still moments to music by Fred Frith. Another piece – to music by the Klezmatics – is a high-wired, high-velocity dance on the same Tuesday night program at the Merriam. A demonstration at 1 p.m. Thursday at the Arts Bank offers a chance to see the company’s hits from last year.

Latin

Spain, Mexico and Venezuela are represented by large troupes at the festival. Of these, the Madrid natives who form Noche Flamenca, now based in New York, already have a slew of fans here. From their first Jaleo – the Andalucian term for the shouting and clapping that encourages the dancers to jest and make merry – to the setting of their last, lonely Solea, they’ll once again please their crowd. Noche Flamenca, which sold out the Wilma Theater for 10 days in January, is appearing at Saturday night’s opening gala as a prelude to a second run at the Wilma beginning Wednesday.

Even those who find bourrees (those teensy on-pointe steps) boring will be intrigued by Venezuela’s Ballet Metropolitano de Caracas. This is classical ballet infused with Latin zing. Wednesday evening at the Merriam, 10 of their dancers will perform a salute to Venezuelan dance, to music by Latin-American composers.

Mexico’s Delfos fuses Latin and western modern dance and is another of festival codirector Glazer’s picks. She says to watch for the delicately traced choreography, defined by impeccable body work. Sunday night’s program at the Merriam will offer an unusual opportunity to see a neighbor nation’s contemporary work.

In a burst of joyful brilliance, the programmers have engaged the Philadelphia-based Samba Nosso drum and dance group to lead the audience in and out of the Merriam at Saturday’s gala. Samba Nosso plays African-influenced styles of authentic Brazilian music with musicians and dancers from around the world.

Asia-Pacific

After watching anorexic Western ballerinas with their hinged elbows and knees, most Asian dancers appear boneless. Their limbs are breathtakingly fluid, with no awkward joints. Because of their rigorous training, it is unlikely that audiences will see even one mediocre dancer out of the eight contemporary troupes from China, Hong Kong, Korea, Kuala-Lumpur, Taiwan and Singapore.

When pressed for her favorites, Pearl Schaeffer, director of the Philadelphia Dance Alliance and Glazer’s partner in 2000 Feet, blurted out China’s Guangdong Modern Dance Company first. “I’m interested in seeing modern dance with roots in the U.S. being reinterpreted by a Chinese company,” she said. The members of Guangdong Modern Dance, founded by the Chinese government in 1992, “use elements of contact improvisation, they’re highly gestural, and use partnering well. Their costuming is very western – the men bare-breasted with baggy white pants and the women often have minimal costuming with long sleeves or fabric trailing behind.” The company will be on a Thursday night bill at the Merriam.

 http://articles.philly.com/1999-06-18/entertainment/25500834_1_postmodern-dance-dance-works-classical-dance#.UB70tK5fnB4.email

Finding my voice at poetry camp

BY: Merilyn Jackson 07.17.2012

Tom Lux— aka the Wrecking Ball— plowed over my lines.

Suck in that iambic pentameter! Or:
Notes from summer poetry boot camp

I’ve written poetry since I was a kid— not much of it very good, but I wrote it as best I could. In the ‘70s I took poetry classes and attended readings with my professor. At the original Painted Bride on South Street one June night, I met AJ Sabatini reading his poetry.

Six weeks later I broke my husband’s heart (and my professor’s) by moving in with Sabatini. Together we read poetry by Plath, Stevens and Williams, and passages from Finnegans Wake, in varying cadences to each other as foreplay. We didn’t have a TV.

Almost everyone we knew then wrote, composed or choreographed— all language forms that demand attention, interpretation, parsing and translation.

There was Jack, Maralyn, Patience, Jett, Annson, Karen and Joseph. Steve Berg, who had just started the American Poetry Review, left his shoeprints on our wall one night during an impromptu party we threw after an APR-sponsored reading by Robert Bly. Bly left a more impersonal ring on our end table from his icy glass. Unlike the wall, the table— with its cloudy nimbus moon in full eclipse— has traveled with us throughout the years.

Veiled eroticism

Some time ago, I became a little bored with writing arts criticism and began “raiding” old poems for good lines that refreshed my dance writing. Soon I was writing more and more poetry— mostly what you’d call arch-romantic stuff filled with lightly veiled eroticism. I confess I am a tease.

This year I applied to three summer poetry-writing workshops and was accepted to all three. I chose Colgate and Sarah Lawrence, since both gave me some scholarship funding. I just got back, after working with Peter Balakian at Colgate and Tom Lux at Sarah Lawrence.

I have just one question: Why didn’t I do this 30 years ago?

Colgate’s campus in upstate New York is art-gallery print beautiful. The college sits on a hill that seems a 90-degree angle when you climb it in 90-degree heat. The town of Hamilton is a 15-minute walk from the foot of its slope. And that’s about it if you’re without wheels. If you’re there for only a week there’s enough to explore on foot.

Emboldened by drink

But you find little time for sightseeing at a writing workshop. Matt Leone, who has run Colgate’s summer writing program for ten years, wedges in more talks, readings and social gatherings than a day can hold. It’s all you can do to steal an hour or two for writing.

Most of the faculty are published authors— Balakian, J. Robert Lennon, Dana Spiotta and Bruce Smith— who grew up in Philadelphia and got my Philly Girl ’tude as if we were cousins. Participants chatted with them after their readings and talks. Among the pithiest readers were Lennon— whose book of flash fiction, Pieces for the Left Hand, I gobbled at the beach in one afternoon last week— and Smith, whose Devotions are still wending homeward via the mail.

They also comprised a generous audience for the student readings each afternoon and again late into the evenings, when drinks emboldened us. These readings ranged from drab to dazzling, ho-hum to outrageous. Best of all, I got my first opportunity to read my work to an audience.

Finding my voice

Some of my fellow workshoppers weren’t sure my poems read well on the page. But when I stood up and said, “I don’t need no stinkin’ podium” and plowed into the crowd, performing my poems, they got it. I had never read to an audience before, but the minute the floor didn’t open up and swallow me, I knew I owned it. I had a voice, a pretty good one; I just had to find better ways to translate its tonalities from the stage to the page.

The workshops with Balakian had a warm and fuzzy quality, tentative and blanketed in political correctness and politesse. Balakian has a delicious international sidekick in Ioanna Karatzaferi, the Greek-born and part-time Manhattanite author and translator of more than 50 books in Greek. I had the pleasure of riding the six-hour bus to New York with her on my way down to Sarah Lawrence. I learned as much in those six hours as I did in the previous six days.

Ioanna and I shared common past adventures in political activism: she for Greek democracy, I for a free Poland. Each of us understood that meant we were working for people to be free to fuck up or succeed— their choice. By the end of the bus ride I reached the conclusion— which I think Ioanna supported— that I should follow my heart as well as my intellect in my poetic choices. That is, I should let the poems find their audiences instead of changing them to please less passionate, less nuanced readers.

Confronting the ‘Wrecking Ball’

Sarah Lawrence, just north of New York City, is more like jumping out of the print into a live, micro-version of Philadelphia’s Chestnut Hill. Very tony. Its much less sprawling campus put our living quarters within a two-minute walk of the dining hall and most of our workshops and events.

Here on Sunday afternoon the poet Tom Lux, who designed and founded the Sarah Lawrence workshop 19 years ago, sat in wait for our group of 11 on a large round table. We jumped right in with no introduction.

Lux— whom I dubbed The Wrecking Ball— was fiercely devoted to the cause, the sound and the meaning of poetry. He plowed over each of our lines, questioning our choices; then, after demolishing them, he assured us that as poets we are the final arbiters. We were left to pick up the pieces and rebuild our work then, as best we could.

You could sign up for as many one-on-one conferences with other instructors as you could squeeze in. Each of Lux’s workshop participants got almost a couple of hours of his time– that made for about 20 hours out of a week that immersed us all for 12 hours a day in wrenching, hard-driving poetry-talk.

During my freewheeling one-on-one with Lux, I pulled an old poem out of the pile at random. A short one, I figured, and one that had already been published. Lux immediately liked the title, “It makes you want to find out,” he said.

My original read:

How You Warriors Came to Farm

Hearth embers singe the soles of my feet.
My hair, ashen, tangles in the treetops.
I turn my back to you.

To you, it is the steppes of Georgia.
You, Cossack, gouge furrows
Spew seed.

The bruised land yields up
unending riches:
The groans of Eve,
a loamy perfume —
Bread
so dark and hard to chew,
your eye must soften it
with salty tears.

Lux didn’t get that this poem is about a certain kind of sex (like pretty much all of my poems). Both he and another reader thought I should drop the last line. So I tried this version:

How You Warriors Came to Farm

Hearth embers singe the soles of my feet.
My hair, ashen, tangles in the treetops.
I turn my back to you.
Alluring.

To you, it is the steppes of Georgia.
You, Cossack, gouge furrows
along my ribs, spur your seed deep.

The bruised land yields up
unending riches:
The groans of Eve,
a loamy perfume —
Bread
so dark and hard to chew,
your eye must soften it.

What was the point of this exercise (not to mention the point of attending poetry camps)? The late Nobel laureate poet Wisława Szymborska, one of my favorites, sometimes wonders who reads poetry. Many poets tackle the subject. So here’s my attempt:

The Efficacy of Poetry

What the fuck’s it for —
poetry – anyway?
It doesn’t give back what was yours.
It doesn’t pick you up from all fours.

When we need it most:
Funerals, the end of love affairs,
the birth of a child,
the cresting of delphiniums
the blistering of desert heat —
does it deaden pain,
mollify our fear of the unspeakable
breathing of cheeses?
(Not to speak of drying your tears.)

Or these tears, cracking laughter,
ringaringaroses,
triangles of reference,
The Finger of God,
chitchat on that porch,
and that halleluwhat?

What is poetry for?
Does it give us closure?
What a conceit!
Who came up with that?
I’d like to stick his hand down
my garbage disposal
before he writes his next.

The only closure is death.

And everything between birth and death

— poetry.

Five poems by Merilyn Jackson were published this year in Andrei Codrescu’s Exquisite Corpse. To read them, click here.

 

July 9, 2012

For seven years I have lived in almost constant and often unbearable pain, undergone 7 root canals by four different dentists, had three teeth removed and two subsequent minor surgeries to grind down the jawbone when it dropped. The ordeal is still not over. I am in severe pain as I write and in the deepest debt of my life. Among the things that my Delta Dental PPO/Premier plan does not pay for is the anesthesia for tooth removal. They will only pay for anesthesia if two or more teeth are being extracted at once. Of course, you cannot do that without being extremely sure which teeth are infected. So I have put some $3,000 on my credit cards. Last week, a digital radiography showed some sort of irregularity in the form of two horizontal lines on the remaining back molar. Neither the doctor who took it nor the surgeon I went to could tell me what it could mean. I was told I would have to find a dentist and am trying to find one who will accept my insurance plan. This is the first part of the story. The rest will come later along with photos of the 36 different bottles of prescriptions I had filled. I need to be on an antibiotic right now. If I am and I feel better in a few days, then we may surmise that this is in fact still an infection.

I am in touch with another woman in Manayunk who has been suffering in the same way. Neither of us knows what to do.

1. Oct 4, 2005 Dr. Thomas Nordone, Dental Surgeon  207 N. Broad St seen Oct 4, 2005 for the pain. Takes Panorama. He says its neuralgia not dental. I had already been suffering for some time with a sinus infection. I insist it is dental and tell him about the time 30 years ago it took 2 years to find the two abscesses that were root canalled on the other side. He allowed as how that could be the case, but that he did not believe it and that all my symptoms pointed to neuralgia. I left reluctantly, asserting that all the symptoms could also point to abscess.

2. Oct. 12, 05 Dr. Kitai at Mazotti’s ofc, S. 9th Street, 215 334 4049 — puts me on Cipro in October, for sinus infection. As usual, I feel a bit better and have less pain when I am on antibiotic and fight to get on it long-term, but neither he nor any of the doctors will do that.

3. 11/22/05 Dr. Thomas Stern, DMD S. 833 2nd St, 215 336-3066  11/22 Stern takes full head x-ray – Panorama—he can see no dental problems. Confers with Nordone by phone. They are buddies and agree its neuralgia. Stern puts me on 100 mg Neurontin (gabapentin) to begin with and ups the dose a couple of weeks later when efficacy seems wearing off. I go onto 3,300 mg neurontin daily. Helps some, but makes me forgetful and unable to focus. Meanwhile, Stern has referred me to a neurologist, Dr. David Cook at Penna Hosp. Cook refuses to see me because he does not take United Healthcare and calls personally to tell me so. When I tell him I have just been on the phone for two hours getting an exemption that they will fax to him, he says, “I don’t care. I don’t know them and I won’t use it.” He does not offer to send me anywhere else or make any other suggestions. Later, Kitai also recommends him, but I tell Kitai what he said. By now the holidays are upon us, I am working and I am spending my spare time trying to find the right kind of neurologist that takes United.

Dec. 05 Stern confers with an internist friend and they put me on 30 mg prednisone daily on the hunch that I have a lingering inflammation from the sinusitis, and raise my neurontin levels to 2400 per day. I can only manage to get myself up to 1800 per day. Stomach bloats, dhiarrhea, eating like crazy to try to absorb meds, face is swollen and shifting, have to fight to drive, to work, to live. My editor at MetroKids is impatient with my medical calls and needs. Tells me to do that on my time.

4. Jan. 06/06  Stern insists this is neuralgia and says he understands my pain, that it is called the “suicide” disease because of that. I tell him that, indeed, at 4 in the morning I am often suicidal from the pain. I get up and walk with an icepack until I am exhausted enough to fall into sleep for a few hours.

5. 1/13/06  Finally, Dr. Stern gets me in to the neurology dept at Jeff. It turns out to be the wrong kind of neurologist (there are at least 15 kinds of sub-specialties) Tsao-Wei Liang, MD Asst Prof Movement disorders, I meet Tsao-Wei Liang, MD Asst Prof Movement disorders Neurology Jeff Hosp. 215-955-1234 & 215-955-1041.

First neurologist I have seen, at Jeff, since being on the Neurontin for 2 months. He sees me anyway because of all the trouble I’ve had and is very nice and seems thorough. He ordered MRI and it was done later that month. Shows nothing but some swelling on the right gland. He has been trying to get me into the headache center at Jeff to see Dr Wm Young. He did not know that the Headache Ctr has a blanket policy that each patient must be seen by their psychiatrist first. Their psychiatrist does not take health insurance and patients must pay $480 out of pocket up front. Liang requested an override from Dr. Young who agreed, but did not pass the info on to his secretary, Miriam Reigel, who insisted I would need to see the psychiatrist. When I informed her of the Doctors’ override, she said “Oh they withdrew that.” I said “Why, because I am angry?” she said “No, because as I told you it is our policy.” I told her the policy was outrageous and that it was up to the doctors and not her and hung up on her.

Dr. Liang adamantly denies that and said he would track it down. He did argue for me to be seen by a resident there and on Tues, 2/14 Miriam Reigel, the Headache secretary said I could go in on Thurs morning, 2/16 but that she would call back and tell me who I was to see. I called 3 times on Wed to find out who and where and Reigel never got back to me. Liang is trying to get that up for me again on Mon or Tues morning.

5. 2/16/06 Dr. Stern is very angry when he hears of what Jefferson Headache Ctr did. He calls all over the city until he gets me in to see Daniel Feinberg, Penna Hosp Neurologist Seen Friday, 2/17

6. 2/17/06 215 829 6500: Feinberg says it is not neurological but could be Trigeminal neuralgia and Sinusitis, but thinks it is still just sinus-involved.  Feinberg took me off the Prednisone and recommended I stay on 1800 mg Neuronton until I see Maria Mazzotti, DO, for the sinusitis. I told him Mazotti is not competent enough to handle all these complications and that I would also arrange to see my ENT man, Dr. James Kearney, at Pa Hosp. Feinberg agreed, then, that that would be a good idea. I arranged appointment with Kearney on March 8, 9:15 am

7. 2/17/06  Since Kearney’s appt. was so far away, I also called and spoke to Maria Mazzotti on 2/17. She set me an appt for 2/20, 11:45 and said she would call in a 7-day course of antibiotic for me to start over the weekend. I argued that would not be long enough but she would not budge. Either she did not call it in or the pharmacy lied because when I went to pick it up they did not have. It was a Friday and I have a total meltdown right there in the store. I finally reached Dr. Bralow, Mazzotti’s wknd sub and Bralow called in a scrip for me. Walgreen’s says they will call when it is ready. By then I have fever, feeling weak and the stuff is traveling down into my chest. Pain in face very bad. Taking Oxycodone a lot. Feeling a bit better, as usual when I finally get on antibiotic. Telling them all I have some sort of systemic infection.

Fly out to Phoenix 2/23 back to Philly March 7 for my March 8 Appt. with Kearney

Mar 7, Pain severe as usual. Go to Mazotti. Insist on blood test. Have lab results on that. She says they show nothing.

Mar 8, 06 Kearney goes into my sinuses, sees what he interprets as a cyst on my left maxillary sinus. Says that alone would not cause the kind of pain I am having. Puts me on another antibiotic.

Mar. 28 06  Back to Kearney, with my friend Malgosia as my patient advocate and witness and also, I am unable to drive. I ask him to take out the cyst.

Mar 31,06 7 am surgery to remove the “cyst” It turns out not to be a cyst, but a POLYP, which they remove and biopsy. Biopsy OK.

Three followup checkups until April when I leave again for Phoenix.

Apr 24, 06 Pain is relieved quite a bit but still strong enough to warrant painkillers. I go first around May 5 to the Scottsdale Pain Center and for a cursory, ten minute, hands-off exam with the director @ $600.00!  I am directed to Dr. Joseph Cohen at Southwest Pain Management Associates. 602-992-1486  Cohen’s x-ray machine is out-of-order but he diagnosis TMJ and fits me for mouth guard. Does a Tomography at a later date – cannot see dental problem. Says it is classic low-grade TMJ and does not understand why the other doctors I saw diagnosed neuralgia.

6/12/06  Today saw Cohen’s Physical Therapist Robin Bedingfield (602-494-1548) for first time.  She checks with my insurance to be sure they will cover me. (Remember this as the punch line comes later.) Says I have a lot of capsular inflammation (every joint is surrounded by a capsule of fluid and the fluid swollen and affecting the cheek muscles. She says I must clench, and that the mouth piece I get on Friday will help a lot. She did electric stim and ultrasound. I’ll see her about 5 times before I leave.  She teaches me some mouth exercises

July 2.06 last session with Robin. Things are somewhat better, but still taking lots of Oxy.

Jul 5.06 I leave for Philly

8/30/06 I go to Dr Stiles, 909 Walnut Street. 3rd Floor (he is Dr. Joseph Cohen’s “protégé” in Philadelphia) for a checkup and adjustment for my mouthguard. He recommends continuing the mouth exercises, otherwise he will give me an injection in the Trigeminal nerve.

Sept 30 to Oct 15 06 to Phoenix using mouth guard, doing excercises, pain is bearable on two to three Aleve per day and hydrocodone at night. The mouth guard is unbearable.

Late Oct, 06 pain ramps up – go to see Stiles.

Oct 31 Tell him it’s an abcessed tooth. I’ve had a dozen of them and I know the pain when I feel it!!!! and insist on another xray. He says no, and suggests I go on Flexeril so as not to clamp at night. He says I can take it with Oxycodone which I am taking at night. Use it for two weeks. There is minor improvement.

Insist on xray, this time he does it but says he does not see anything. I am having low-grade fever. My normal temp is 97.5, its hovering around 99.

Nov. 17, 06 Scheduled to meet my husband in Chicago for the weekend where he is giving a paper, but have to cancel — don’t trust myself to travel.

Nov. 21, 06 My husband Arthur, flies home to Philly. I have to ask a friend to get him at airport, too drugged to drive. We cancel Thanksgiving at our house because I’m too sick.

Dec. 14  Arthur flew back to Philly last night for the holiday and took me back to Kearney to see if I have a sinus infection. Kearney can’t see me but his partner Newman does and does the camera thing in my sinuses. Says he sees mucous and puts me on a two week course of Avelox and recommends a daily sinus rinse which clears out a lot of guck. Pluera all through my back behind lungs, kidneys, very painful. I am so sick I cannot even get up to go out for Christmas and New Year’s but the pain in my mouth is lessened. Christmas week throwing out/giving away hundreds of dollars worth of food for the parties I usually give. Freezing my cookie doughs because I cannot standup to bake them. Arthur and my daughter take over and somehow we put together our Wigilia supper for 12 people – don’t know how – all a drugged blur. I cry a lot over missing my second Christmas in a row. Who knows how much energy I will have in years to come to get my Christmases back. So much work that I love, so many people that I missed, so many invitations declined, parties canceled, could not even send out a single card, could not play with my grandson or babysit. Somehow managed to get out a lot of dazed writing – all hack work, but I’ll get paid and I performed a service to the community. Something.

Dec. 26 See Newman again – sinuses are clear he gave me a scrip for 40 oxycodone for the pain and shrugs it off “I don’t know anything about teeth.”

Dec 27, 06 Pain very bad. go to Stiles again, with Arthur. He gives us an hour and his THEORY that this is a Migraine that has migrated to my mouth. Draws diagrams, etc He’s writing a paper on new findings and treatment for migraine pain.

Dec 29 06 – call Stiles in agony. He puts me on Nortriptiline. Says it will take a few weeks to work!!!

Dec 30 06 Dinner with friends Dr. Gil and Elaine at Pif. I order what seems soft to eat – snails and duck breast on pureed parsnips. Only able to eat the snails and parsnips, duck too hard to chew. Gil tells me the nortriptiline is to raise my threshold for pain. At home I freeze the leg of lamb I had planned to make for them but was was too sick to do and cry bitterly. Poor Arthur has taken such good care of me all this time. But its been a difficult return home for him. We haven’t even been able to sleep together all these weeks.

Jan 2 07 – call Stiles “I do not want to have my pain threshold raised. Pain is there for a reason: to tell you something is wrong. You had mentioned a dentist you would send me to if you thought it necessary. Who is that? I want to be sent there now.” He tells me he’ll give me Patrice Ierrardi’s number at the Bourse. But I say, “Oh no, you’ve been treating me unsuccessfully for three months and I’m in too much pain to call her. You get me in there and my husband will take me. I go to her.

Jan 3 07 She has something called digital radiography and insists that if there is something to be found, she will find it. I wait 5 minutes in tears. She finds the two abcesses in the third molar RIGHT WHERE I LOCATED THE PAIN ALL ALONG!!!! and explains how the silver tips on the tooth (treated 30 yrs ago) deteriorated. She says the only place I could have this retreated in Philadelphia is up at Einstein where they have a hospital setting and can work with the ENT Dept should that be necessary. I agree to go there though I know nothing about it and cannot find out much through the girls at the desk who make me feel like I’m going to some sort of clinic.

Jan 5 07 treated by Dr. Michael Trudeau. He does not use any sort of IV Valium, laughing gas or other sedative that I am used to having with major procedures like root canals or extractions but on my insistence he prescribes two Xanax to take before I come in. I undergo a 3 1/2 hour surgery with doctors coming in from all over to observe. Expecting that I will feel better within a few days, I do not.

Trudeau has inserted anti-microbial material and says my infections are so bad, it could take up to two weeks to work. The pain will be bad — QUELLE understatement! But begs me to persevere. Finally after 14 days of agony, the pain just drains away on Jan 20. I stop taking Oxy or anything else and have not taken a pain killer since. Trudeau did the second treatment Mar 8 and I have been completely healthy – no fevers, no sinus infections, no pain ever since! The only thing lagging is my energy and losing all the weight I gained on the Neurontin and Prednisone.

Until…

But we pause here for a brief informational message on a road not pursued in this case:

Osteonecrosis can affect any bone, but the hips, knees and jaws are most often involved. Pain can often be severe, especially if teeth and/or a branch of the trigeminal nerve is involved, but many patients do not experience pain, at least in the earlier stages. When severe facial pain is involved, the term NICO, for Neuralgia-inducing cavitational osteonecrosis, is frequently used.

ONJ, even in its mild or minor forms, creates a marrow environment that is conducive to bacterial growth. Since many individuals have low-grade infections of the teeth and gums, this probably is one of the major mechanisms by which the marrow blood flow problem can worsen; any local infection / inflammation will cause increased pressures and clotting in the area involved. No other bones have this mechanism as a major risk factor for osteonecrosis. A wide variety of bacteria have been cultured from ONJ lesions. Typically, they are the same microorganisms as those found in periodontitis or devitalized teeth. However, according to special staining of biopsied tissues, bacterial elements are rarely found in large numbers. So while ONJ is not primarily an infection, many cases have a secondary, very low-level of bacterial infection and chronic non-suppurative osteomyelitis can be associated with ONJ.

Friday, June 1, 2012
By Merilyn Jackson
FOR THE INQUIRER

Dance of the lower-case companies! Kate Watson-Wallacer, and Jaamil Kosoko are dancer/choreographers who recently formed anonymous bodies, and Megan Bridge and Peter Price, who make up a team they call fidget, have paired up this weekend at Christ Church Neighborhood House. Both partnerships engage in dance theater, live music, on-site installation, multi-media, social justice and political themes, and audience involvement. In a trend that’s been growing, if diminutively, they titled their show “us.”

Another trend that’s been around for awhile has the performers on stage in costume and going through their paces before the show actually starts. Watson-Wallace, in a red jumpsuit, and Kosoko, in crimson-sequined crinolines around his neck instead of his waist, wore tinselly wigs that made them look, appropriately enough, like July 4th sparklers. The program notes said they were attending a funeral for the United States. But although they looked solemn, danced with flags, and Watson-Wallace took a series of violent death drops, there was little to suggest a funeral.

They better reached their intention to defy genre, gender and identity when, Kosoko changed to a white suit, Watson-Wallace returned to the stage in a black suit, and both rolled their T-shirts up over their heads. Hiding their faces made them anonymous. Exposing their chests — black male skin in white and white female skin in black — made quite a nice statement, but not enough to flesh out this unfinished piece. Prior to the show they invited the audience to check out the scant “installation” on stage, but it piqued no one’s curiosity.

In Kosoko’s solo, other.explicit.body, he wore a cut-up sweatsuit graffitied with slogans: “Black Power” across his bottom. To live music by Brandon Shockley with a voice-over NPR interview of novelist and essayist Touré, Kosoko shadow boxes, drags a netted basketball around chained to his ankle, and writhes on the floor. Whether in defiance of or compliance with all these stereotyping props, he picks up books on black dance and the black body from a stack and reads their titles before slamming them to the floor.

Fidget’s Subject in Two Parts was reprised from four years ago, when I reviewed it at Community Education Center. Bridge, as ever, is a riveting dancer, whether deconstructing Jack Cole’s choreography for Marilyn Monroe in Gentlemen Prefer Blondes, projected and distorted behind her by Price, or standing naked pulling ticker tape from her mouth. In the second part, the electric presence of Annie Wilson joined John Luna, Lorin Lyle and Rebecca Sloan, recharging the group dynamics and the piece. And so the show was about the body, anonymous or seen.

http://www.philly.com/philly/blogs/entertainment/theater/Dance-review-anonymous-bodies–fidget.html

 

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