By Alisha Hagey and Jason Hagey
The Contemporary Dance Ensemble at Utah Valley University in Orem, Utah presents Ricochet, a multi-thematic composition on isolation, abuse, and release. Sometimes ethereal, other times politically charged, Ricochet surges and crests with emotion and an appeal to the more loving side of human nature. Ricochet is an evening of modern dance that seeks to engage mind and feeling in equal parts.
What makes contemporary dance choreography so unique and wonderful is the ability to play with space. Various dancers can be performing a variety of sequences at the same time to give greater texture to the whole piece without needing to be in identical rhythms. The dance lends itself to storytelling and exploration more than, say, a competitive dance group where uniformity is held to a higher premium than texture and tone. Modern dance allows space and line to be the determining factor, and the dancers’ relationship to both of those, to engage the audience.
Angela Banchero-Kelleher and Sarah Donohue (co-directors) crafted a tale through different pieces, each rebounding off of the other, to form a cohesive narrative. It begins in serenity, three long black poles being held at different heights and angles, representing the lines that are drawn, crossed, and explored through our relationships and throughout society. As the dance progresses, they take overlapping and interconnecting stances with the poles. An undercurrent of being alone, even in romantic relationships, forms and flows. Also, the sense of societal expectation resonates in contrast to individualism – thus Banchero-Kelleher and Donohue deliver their thesis with Doris Hudson de Trujillo’s choreography aptly named, “Journey.”
Capturing the zeitgeist of modern political discourse, the narrative continues with Banchero-Kelleher’s own “The End of Space, The Beginning of Time El Sueño Americano” (Spanish for “The American Dream”). As the music rises through the piece, it is punctuated with sound-bites from news sources and political speeches centering upon immigrants and refugees and the plight of children being separated from their parents at the border. From our perspective, the piece has four distinct movements: I: Collective isolation, II: Suffering caused by others, III: Sorrow and pain together, IV: Disillusionment. To illustrate her cleverness, Banchero-Kelleher has dancers thrusting other dancers down onto the ground, evoking a visceral violence of physical rejection which she juxtaposes with a jaunty country-style tune.
“Choreographed on the eve of WWII,” says the event program, “Doris Humphrey’s masterwork, Passacaglia and Fugue in C Minor was a call to community, to a reimagining of how people should live and work together.” This is the next movement in the story. The costuming is angelic with dancers in white and the choreography is about peace and harmony, the dancers often in synchronicity. Looking at the body almost as if it were sculpture (very gothic in tone) the appearance is heavenly, almost perfect, and the message is clear, that becoming one as a society should be the goal.
After intermission, the Ensemble gives us perhaps the most dynamic of the pieces for the evening: Carl Flink’s “This Bleeding Heart…” There is a repetitive jeté-like movement that I have never seen before. One dancer expands over and over again in the same space, propelled by a dancer behind her – but both never move from their planted space. This connection gave me a sense of something lacking in community; there was physical connection but not an emotional one. This theme carried on throughout the rest of the piece. Every moment is about connection (or rather missed depth of connection). Flink gives us a never-ending battle of tension and extension, playing with masculine and feminine forms while dealing with overt suppression. An example would be two dancers who were spinning around together, but rather than holding hands, they used the necks of their fellow dancer to keep moving. It felt very combative.
Using Franz Schubert‘s “Ave Maria” and legendary choreography by Michio Ito, the story evolves. This moment, the entire evening changes. Whereas before the dances felt like extensions and explorations of abuse, Ave Maria brought back the humanity and community. Focusing primarily on arm and upper-torso movement, this dance is risky. With the popularity of competitive dance television, contemporary dance has made its way into the public view. If all modern dance were judged by the pieces used on television, this dance would seem like a failure. There is an effort economy that puts the emphasis on gesture and simplicity rather than grandiose motion. This simplicity, so hard to execute well, is lovely. There is a dancer in this piece who is in the middle front, stage right, who is breathtaking. Toward the very beginning, she has this intake of breath that is followed by a raised arm. It is captivating. I didn’t take my eyes off her. She dances through to her very fingertips. Her movements are honest and vulnerable, her extensions thoughtful, and her face is so full of compassion. I can feel her love of the piece. She radiates. After this one ended, our whole family all had to comment on the same exquisite dancer who captured our hearts.
Continuing with Michio Ito’s choreography, “Tone Poem I and II” are about softness and strength. “Tone Poem I and II” are almost a revelation for me. Motion and emotion builds like stanzas in text, relying on very subtle movement. These dances depend on honesty in their soloists (Meladi Hodges and Brianna McKelleb). They bring simple grace to create a narrative structure, again, not crutched on the gimmick but on exploring the theme of isolation and individual experience.
Rolling seamlessly from Michio Ito is “Under a Cherry Tree,” choreographed by Kumiko Komine. Martina Jorgensen does a great job using her arms and hands as transition points to tell a melancholy story of loss. She is very fluid.
In the final dance of the evening, Donohue gives us “Numbers for Names,” a solid reference to the holocaust through drab costuming and a red sash. The performance is thoughtful, even poignant, and grows from the idea of hate for ‘the other’ into societal control as the norm, into peace. Then, as history is oft to repeat itself, Donohue reminds us of social manipulation. This number is a perfect ending to a fantastic evening of evocative and emotional dance.
At the end, UVU’s Contemporary Dance Ensemble captures heart and mind through Ricochet’s excellent narrative and beautiful dance. The dancers emote with honesty and deliver a breathtaking performance filled with love and compassion. As a treatise to developing better relationships through accepting others for who they are, Ricochet shines. To miss an event like this would be missing a true moment of humanity and soul.
UVU Contemporary Dance Ensemble presents Ricochet
Sorensen Center Ragan Theater, 800 W. University Parkway, Orem, Utah 84058
*There is a parking garage connected to the Sorenson Center
February 7 – 9, 2019 7:30 PM
Tickets: $6 – $12
Contact: 801-863-8797
UVU School of the Arts Facebook Page
Ricochet Facebook Event
UVU Department of Dance
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