Each season, BAC invites writers into the studio to interview our Resident Artists. The resulting BAC Story essays offer an intimate behind-the-scenes look at the creative process.
June 24, 2018
Rehearsal Report: ”You can think of yourself as a collection”
In early April at a rehearsal for RoseAnne Spradlin’s latest piece, tentatively titled Y, eight dancers walk onto black marley from all directions of the room. They lightly settle into an insular posture of group repose, and then they set off.
The studio shades are drawn, the city peeks in, an industrial soundtrack made by collaborator Glen Fogel accompanies them. The ambience is composed of rehearsal recordings - footfalls and running. Spradlin tells me these percussions are cut with nature sounds “like birds and people walking over large rocks and gravel,” all aiding and abetting the effect of arrival. It’s a kind of inversion of alien visitation (how beautiful that humans may visit themselves) here in this pristine rehearsal room, for the common myth holds that extraterrestrials can best show themselves in the throes of nature. But in this case weirdness is a collection of purposeful bodies moving in a space arbitrarily demarcated for the purpose of art. Against a gritty and compressed churn, I find myself paying attention to the dancers’ shared agreement with the floor, how mysteriously anchored their limbs seem to the ground, and if one body takes off another will bring it back down just as quickly. It is hard to locate a romantic feeling in the hive, and maybe that’s because all the feeling has been turned inside out - it is not a vocabulary of coyness - or rather, returned to its original location: the surface of the skin. To be touched is not just a metaphor; contact creates response in sequences flowing, acute and unprecious.
Approximately 20 minutes in, the flock begins to lap the room clockwise while one dancer, Athena Malloy, stands against a barre observing the herd. It could be the emergence of an opinion or a personality as she slowly enters the current and slumps to the floor; the runners form elliptical orbits around her person that taper into a still tableau. (I later learn that my narrative imposition is a product of chance, Malloy nursing an injury that day.) Crunching sound gives way to birds as the dancers look up and out. Connor Voss, in a tye-dyed shirt and shorts that bag over his skinny legs, walks downstage, obscuring the group portrait, punching the air once, then twice, and walking away. The camera is tilted upwards to face the light grid, the movement complete for now.
This is only a teaser, Spradlin tells me - the four repetitions composing the structure of this material have since doubled to eight - but as a sketch it begins to hint at the surprise theatrics I have come to love in her dances, achieved through deeply roundabout yet highly incisive sensorial explorations. Looking at this footage, I think about visiting the studio a month prior, the company just beginning its work; a newly formed collective, many of the dancers are entering Spradlin’s process for the first time. Waiting for the choreographer, who has been delayed by an appointment, I sit against the wall and watch them warm up for a long time, each dancer absorbed in a wholly idiosyncratic dialogue with their own body. For some, stretching dissipates into collegial conversation, while others remain focused on what is physical and unobservable to my eye.
Spradlin enters and assembles the group. I turn on my tape recorder as she starts to talk with the company, beginning with the simple premise: “You can think of yourself as a collection of cells,” tracing along one dancer’s body the potential of a sideways consciousness. “You don’t have to make any of this happen, but this idea of lateral lines, like fish.” And they do seem to form a school, in their youth and mass, but there is nothing pedantic about Spradlin’s tone, which is more akin to invitation than dogma. As a witness to this methodology of finely grained haptics, I have the uncanny sensation of having been here before, reminded of watching Spradlin in technical rehearsal for g-h-o-s-t-c-r-o-w-n (working title) at New York Live Arts in 2014, where once again she was in close proximity to a performer’s body, using just the slightest amount of pressure from her hands to jump start a memory of what the performer already knew so that they could make a difficult turn. “You just have to feel it,” she said.
In correspondence, I ask Spradlin about the title of the piece and she writes: “Early on, I was calling the new work star child (moving over the ground). Around APAP time, I just decided to change the title to Y. My last piece was called X and so far it's been getting good reviews and feedback, but I haven't yet got any touring for it. I guess it feels less like I'm abandoning X if I call my next work Y …” I pay attention to the language here, the sense I am already getting of extraordinary creatures or changelings being embodied in Y, and how its seeds were planted in the precursor, a work for three bodies that premiered at the Joyce in 2016. X seemed to propose the dancer as hungry mole, eyes located in knees and backs and arms. Dislocated vision reinvented ballet barres as features of a survivalist gymnasium, everything made strange, wondrous, and more hypnotically rigorous by virtue of a world gone askew. I guess that world is always right here too, even as it eludes us outside the studio walls. Of course, I wonder what Spradlin is looking towards as the latest work’s gaze shifts into eerie distance... every work as odd as a newborn coming into ambulatory power, fierce and preternaturally wise, perhaps mostly so when sidewise.
Jess Barbagallo is a writer, director, performer, arts journalist, and teacher based in New York City. Playwriting credits include: Not for Resale (in collaboration with Lex Powell and the NYU Drama Therapy program); Melissa, So Far; My Old Man (and Other Stories); Sentence Fetish; Joe Ranono’s Yuletide Log and Other Fruitcakes; Karen Davis Does …; Good Year for Hunters; Room for Cream: A Live Lesbian Serial; Saturn Nights; and Grey-Eyed Dogs. He is currently acting in Harry Potter and the Cursed Child at the Lyric Theatre.
Jun 21, 2018
Someone I once dated introduced “tabanca” into my lexicon. It is an affective state referenced in many soca songs, mourning the end of carnival time before it’s even begun—that lovesick feeling you get when you desire someone or something that has yet to be lost.
When I meet Sacha in her studio for the first time, she hands me a photography book about the Borscht Belt while recounting what she’s been able to patch together about Shirley, her maternal grandmother. It was the 1950s, and Shirley would throw off the thick blanket of New York City humidity and make her way up north to The Concord, one of the many Jewish-owned and operated resorts in the Catskills. The Borscht Belt was a repository of the American Dream for Jewish folks, a post-war survival strategy. The promise of security and affirmation of resilience could be found at the nightly kosher dinner buffet lit by a cluster of chandeliers.
In the mind’s eye of her granddaughter, Shirley was a housewife seeking a clarifying mountain breeze for a brain humming with McCarthy-era paranoia. She was also Cherie Dre, an elusive showgirl who spent her summers at The Concord’s Imperial Room entertaining dinner guests with sensual cabaret acts. According to secondhand accounts from family members, Shirley was likely living with undiagnosed bipolar disorder or paranoid schizophrenia, with Cherie Dre being her alter ego.
Sacha’s studio showing at BAC was the first time I met Shirley and Cherie Dre. With fine manipulations of the brow, slight shifts of weight in the feet, and carriage of the shoulders, Sacha is an embodied dimmer switch who fluidly oscillates between the physicalities and timbres of two women she knows so deeply yet incompletely. One moment, she is Shirley, who gives a glowing review of The Concord’s five-star amenities as if you’re sitting across from her at the dining room table. In the next instant, Cherie Dre trails in like a feather boa: “Come on in, meet the girls,” she announces in a husky, flirtatious drawl as she leans her back against an invisible vanity table.
Sacha, Shirley, and Cherie Dre are knitted together like fascia.
As I flip through the pages of the Borscht Belt book, I notice the stark contrasts in landscape documented by the photographs: A 1950’s advertisement, in its highly saturated optimism, features smiling tan people leisurely congregating by the poolside. A photograph taken in the 2000’s depicts that same pool abandoned and crumbling at its edges, covered in carpets of moss. Sacha wonders out loud what Shirley may have been up to during those luxurious summers at The Concord, as if placing a transparency of the ad over the image of contemporary decay. Together, we process the phenomenon of vacation as it relates to trauma, the false dichotomy between reality and delusion, past and present, grief and closure.
Sacha’s tetherdness to Shirley and Cherie Dre is tabanca as I understand it: the practice of learning to love through the prism of loss. It is a lesson passed down like a matrilineal heirloom. A hasty distillation of Cherie Dre could cast her existence as the manifestation of Shirley’s undiagnosed mental illness. I think a more tender interpretation can acknowledge this narrative while holding space for contradicting truths, more expansive interpretations of reality. After all, what is a delusion if it is someone you know by their first name?
As Director of Programming at Abrons Arts Center/Henry Street Settlement, Ali Rosa-Salas develops the Center’s live programming and exhibitions with Artistic Director Craig Peterson. As an independent curator, she has produced visual art exhibitions, performances, and public programs with AFROPUNK, Brooklyn Arts Exchange, Danspace Project, Knockdown Center, MoCADA, Weeksville Heritage Center, and more. She has also organized discursive events as an Alumnae Fellow at the Barnard Center for Research on Women and as the Associate Curator of the 2017 American Realness Festival. She graduated from Barnard with a B.A. in Women’s, Gender, and Sexuality Studies, with interdisciplinary concentrations in Dance and Race/Ethnic Studies and has an M.A. from the Institute for Curatorial Practice in Performance at Wesleyan University. In addition to her role at Abrons, Ali supports electronic music DJs and producers through her work with Discwoman.
Jun 21, 2018
From inverting the keyboard keys to questioning the sound of a rectangle to combining poetry and numerology with jazz, Tarek Yamani maneuvers his creative process in many atypical ways.
As his life has unfolded in the war torn and unpredictable city of Beirut, his music has come to hold its share of surprises. It’s not unlikely for Tarek to create a composition today for a jazz trio, and tomorrow ornament it with an ensemble of Khaleeji (Arabian Gulf) percussion. As an artist, he has become as variable as his city of birth – a place that has equally embraced him and swept him aside.
If his fingers moved to the 88th key on his upright Belarus piano, he would be two inches from ringing a C note into his sleeping grandfather’s ear. If he swung in the opposite direction, he’d greet the neighbor through the entrance door. Such were the space limitations of Beirut during Tarek’s developing years. Within this compact site, Tarek found the elixir of creativity. The physical space became less of a factor in his process. He managed to turn his portable habitat into an autodidactic laboratory of experimentation where his extraordinary harmonic knowledge, rhythmic complexities, and Arabic heritage created a mélange that transcended the available resources.
Today, Tarek leaves his apartment in Harlem at 8:30am to take the train to 34th Street then walk his way to BAC on West 37th Street. He enters the 20,000 square foot complex, greets the receptionist, takes the elevator to the 4th floor. He sits to practice on a grand piano in Studio 4B, where the southern light strikes the unfamiliar 43 by 29 foot space through broad windows that reach the ceiling height of 17 feet 7 inches. On his right, the wall is at least 15 feet away. On his left, his reflection appears in the mirrors that span the eastern wall. In this space, Tarek is set to create a new work to be performed at the end of his four-week residency at BAC.
Jazz happens in small spaces that turn the audience into capsules of ecstasy that erupt after every solo. Some cats are fireflies, presenting the hope symbolized by a beam of light in deep darkness, while others are dragonflies, reflecting changes in perspective. It is a real-time improvised conversation that absorbs the space and molds sound to form unity. The sound waves reach the audience and instantly reflect back to the musicians, who react to that feedback. It is what they derive from to create.
In the first few days of his residency, Tarek asks for the heat to be turned up, but realizes it isn’t the room temperature that’s contributing to the cold in his bones: it’s his artistic nakedness. With every new work, the artist is new. The process feels unfamiliar, unaccomplished, unmotivated. In Studio 4B, he faces empty space to fill. It’s not a random algorithm that space can define a musician’s sound; the great architect Frank Lloyd Wright said, “when I see architecture that moves me, I hear music in my inner ear.” In this large space, Tarek married the firefly with the dragonfly to create one of his most intimate approaches to his music – a conversation for two. He is set to create a new duet to be performed with vibraphonist Sasha Berliner at the end of his four-week residency at BAC.
Darine Hotait is an American Lebanese fiction writer and film director. She has written and directed a number of narrative short films that have screened at numerous international film festivals, received multiple Best Fiction Film awards, and were broadcasted on Sundance TV, AMC Networks, BBC, and Shorts International. She is the recipient of the Literary Fellowship at New York Foundation for the Arts and the Arab Fund for Arts & Culture Cinema Grant. In 2016, she was nominated for the prestigious Goethe Award. Her short stories and stage plays have appeared in various publications in print and online as well as curated art exhibitions in Berlin, New York, Beirut, and London. She is the founder of Cinephilia Productions in New York, an incubator for the development of filmmakers from the MENA region. Her new film Like Salt will premiere in July 2018. She resides in New York City.
Jun 18, 2018
What does it mean for dance to be a site where “thingliness” is worked through, where the oscillation of the (black) body between thing, nothingness, and something else is bravely worked out as a kind of practice?
Ligia Lewis has completed two pieces of her BLUE, RED, WHITE trilogy, with Sorrow Swag (2014) and minor matter (2016) as the first two pieces of that trilogy. The Spring 2018 BAC residency is one of the first assemblies of a team of collaborators and the beginning of a rehearsal process for the third piece of the trilogy, Water Will (in Melody).
This rehearsal process includes Lewis, Berlin-based performer Makgosi Kgabi, and composer-performer Colin Self. As the final part of a trilogy, one might expect the process to have a sense of finality, perfect summation, or closure, but the creation process in the studio is dynamic, vibrant with many ideas, and with no sense of bringing thinking and action to a close.
At the work-in-progress showing in the John Cage and Merce Cunningham Studio, Lewis introduces the German fable of “the willful child” and the role that storytelling plays in the creation of this piece. She describes how these culturally familiar fables inform her process, how she tries to find deviancy within the text themselves and test the borders of language. The performers are on the floor, breathing audibly. Their movement is slow and sustained. The floor is treated as support, but the movers also pay attention to its characteristics, its texture, color, temperature, and scent. This is a practice that, during rehearsal, Lewis describes as experimenting with the senses through “emptying out subjectivity” and not giving primacy to “the body” as it is traditionally understood in dance. This practice stages what it means to access the risks and possibilities of sitting with nothingness, and exploring touch in the (impossible) community of things. This dance raises awareness of how material dance bodies relate to things, the ground, and the land.
Lewis’ practice of staying in the hold of nothingness, where blackness has often been relegated, runs the risk of reifying exactly what it challenges. Lewis takes up this risk and doesn’t run away from it, since, as performance theorist Fred Moten has argued in A Poetics of the Undercommons: “You think you have to say ‘No, I am not a thing.’ It’s a horrible experience to find that one is an object among other objects, a thing among other things...but the maneuver that requires you to claim humanness is horrible as well precisely because it may well replicate and entrench the disaster.” In that respect, Water Will challenges us to ask: how can what is deemed nothing be with nothing in dance? How does touch operate in that space, and how do we resist reducing touch to romance and subjectivity?
Water Will’s movement vocabulary is watery; gesture flows like waves, both gentle and turbulent. The successive and sequential undulations have no discernible initiation points; they do not end and they do not begin. However, the intended porousness of the theater landscape and the wavy flow of the choreographic vocabulary are not reducible to mere representations of how water moves. In other words, Lewis is not making the move championed by French ballet master Jean-Georges Noverre in his 18th Century dance treatises of creating sublime movement that mimics/simulates water. She is also not attached to a metaphorical or symbolic engagement with water. The question of water is fleshed out beyond our cultural associations with water (cleansing/catharsis). She is interested in water’s materiality in performance as it pertains to the water in us, which flows and pours out when we bleed, or cry, or make love.
The sounds created electronically by Colin Self merge with the vocal sounds made by Kgabi and Lewis, building to create a cacophonous sonic environment. Kgabi circles the stage, takes purposeful big steps. Her storytelling and operatic singing style is superimposed with Lewis’ speech that plays with alliteration. Speech breaks/brakes and the operatic turns into chesty growls, whistling, and unintelligible whispers. Self’s recorded sound summons Romantic German music’s utopianism. For Self, this is a process of calling up that tradition while trying to move away from some of its characteristics. The music in Water Will accentuates and names (il)legible the melodramatic form. During the post-showing conversation, Lewis articulates that these choices of experimentation with a variety of sonic arrangements occasion the breakdown of language, and open up ways to “other” the theater space itself, exposing its representational logics that mobilize the senses to titillate, in ways that further problematic racial fantasies. At a time where the “given” nature of ideas such as “the self,” “being,” “personhood,” and “the body” are under constant questioning and revision, there is much to be gleaned from this provocative practice of inhabiting nothingness, the void, and non-representationalism.
Mlondi Zondi is a PhD candidate in Performance Studies at Northwestern University with research interests in contemporary Black movement experiments, Black visual art, dramaturgy, and curatorial practice. Mlondi also makes performances and also co-edits an independent journal called Propter Nos. Prior to pursuing PhD study, Mlondi received an MFA in Dance from the University of California, Irvine and a BA (Hons) in Cultural Studies and Performance Studies from the University of Kwa-Zulu Natal. Mlondi has presented and participated in performance work by other art-makers at the National Arts Festival in Grahamstown, the Durban Art Gallery, the Jomba Contemporary Dance Experience (in South Africa), the Laguna Beach Museum, Gibney in New York, San Francisco MoMA, High Concept Labs in Chicago, and Joe Goode Annex in San Francisco. Recently, Mlondi served as production consultant for Victory Gardens Theater's production of Mies Julie in Chicago.
Jun 14, 2018
David and his collaborators workshopped three seemingly separate ideas – on intergeneration and women (with performances by Sarah Rudner, Jodi Melnick, and Victoria Roberts-Wierztbowski), cosmology, and race and American identity.
“Things Are Happening… but not as they appear… this is messy. Messy is necessary.”
The above quote is taken from my rehearsal notes from David Neumann/Advanced Beginner Group’s residency at BAC. David and his collaborators workshopped three seemingly separate ideas – on intergeneration and women (with performances by Sarah Rudner, Jodi Melnick, and Victoria Roberts-Wierztbowski), cosmology, and race and American identity.
In the time since the performance, I have come to realize how they are related – through the gravity of movement and politics, the science of race, the colonization of downtown New York dance, the search for concrete solutions in infinite space. These themes are messy. I love messy because by dealing with the mess we have to confront that which is dirty, chaotic, jumbled, often created by us. It is unpleasant and difficult because mess insists. It is no less tangible when we close the door to it. The muck and mire sits, waiting for us to return to that too-full closet, the one with the rotted floorboards and the rodent infestation… and that forgotten fragile heirloom from your mother’s great aunt. Be it through fate or circumstance, eventually, someone will have to clean that closet.
This is a most messy moment for America. Less a time of civil unrest, more so of civil insomnia. It is in this mess, a uniquely American one, that the seeds of David’s new work are being sewn. Spurred by a reaction to police violence, systemic racism, and white supremacy; inspired by Octavia Butler and Charlie Rose, by 23andMe, Charlottesville and The People’s Institute for Survival and Beyond; examining tribalism and humanism by way of the family narrative. All themes are in dialogue with media, narratives, and movement vocabularies. The collection of ideas, sounds, and visuals are woven together, sometimes curvilinear, mostly at odd angles, to create the whole. There is no optimal. Instead, it is through the patchwork fiction and fact that we find truth.
I first met David Neumann in 2015 while he was touring his Bessie Award-winning work, I Understand Everything Better. On this piece, I wrote, “Neumann seeks balance along the continuum between existing and happening.” Three years later, I find that statement to be a bit too opaque for writing about a work that made me openly weep, but, while sitting in rehearsals during his BAC residency, I am once again struck by the way David activates liminal space in his process. The in-betweens have great resonance. Awkward pauses and shifts in perspective provide as much information as anything identified as an “event.” His work is a collection of moments, sometimes humorous, sometimes heartbreaking, but always fine-tuned. Still too opaque? Perhaps, but this new work is in what I call the “Something’s Coming” space. It is one of the most exciting periods because all things are possible, and his seed material is rich.
Q: What does it mean to hold yourself accountable as an American citizen? How do you unpack your privilege, as a cis white man, without engaging in polemics, proselytizing, or more privilege?
A: Among other things, collaborate with Marcella Murray. She is of African American southern roots and an East Coast liberal arts education. Use personal narratives, hers and yours. Your stories about family and race are your primary sources. Discuss isolation and integration. Be challenged by her questions. Decentralize your voice. Have a conversation.
Q: Devalue fearlessness. This is not a question, by the way.
A: Yes. Make this work because you are wary, frightened, uncertain. Allow your “interest to remain high, while your comprehension falls away.” Change perspectives, visually and audibly. This will be a key theme in the work: Chris (sets), Tei (sound), and Hyung Seok (video), will be essential in this regard. Things are happening, but not as they appear. As Marcella says, “get at the big and small by looking at it all.” It will be uncomfortable. America is experiencing extreme discomfort. It is disingenuous to ignore that.
Q: Who gets to define your work?
A: A lot of white men in Ted Talks. Let’s unpack that more. This is not a joke, by the way.
Final Thoughts (for now):
Not knowing what this work will become, I sense that it is turning a corner in how white artists, American artists, cis male artists interrogate their role in artmaking, and the repercussions of that work on the field and the world. It would be far easier for David Neumann/Advanced Beginner Group to make a work about any of number of interesting, less timely ideas. It is far more urgent to confront whiteness, and the policing, literally and figuratively, of blackness. It is incumbent on white artists to tackle these themes. There is no blackness without whiteness. Doing the work is a shared responsibility. During the BAC residency, I expected to encounter a rich process where each of the collaborators has a voice and the content is engaging. What has me invested is the desire to amplify the voices of black women and the willingness to make a work that tackles the responsibilities and burdens of being a citizen of the field and the world, in spite of the fear of getting it wrong. It is messy. It is necessary.
Melanie George is the Dramaturg and Audience Educator for Lumberyard Contemporary Performing Arts. As a dramaturg and performance coach, she has contributed to projects by Susan Marshall & Company, Raja Feather Kelly, Morgan Thorson, Alice Sheppard, and Caleb Teicher, among others. Prior to joining Lumberyard, she was the Dance Program Director at American University in Washington DC. As the founder of Jazz Is… Dance Project she has presented her research on jazz dance improvisation and pedagogy through the U.S., Canada, and Scotland. Her jazz choreography is regularly commissioned by colleges throughout the United States. Publications include Jazz Dance, Pop Culture, and the Music Video Era in Jazz Dance: A History of the Roots and Branches (University Press of Florida) and Imbed/In Bed: Two Perspectives on Dance and Collaboration for Working Together in Qualitative Research (Sense Publishers).
May 31, 2018
Watching Jimena Paz in performance drives me to tears. As I walk into the studio where the showing of her work-in-progress is taking place, I sit in my seat by Vicky Shick and Donna Costello and chat about life and dance and life in dance and about Jimena and how we’re “waiting” for the performance to begin...
while she is already onstage exposed in her nervous anticipation to begin performing “for us” and I suddenly realize that I’m already in it with her and that there is so much about what this work is doing that is being proposed right in this very charged moment of the intersection between what Jimena has been going through, in this very same room up until now, and the moment that we come to be let in as witnesses to her process.
It all seems very matter-of-fact yet it takes on a profound meaning and metaphor since we are coming into a room where the artist is simply being with us seemingly as she has been on her own during the process. In other words, there is no artifice, no representation of anything, just Jimena in a latent state of readying herself with an open and vulnerable presence, with eyes that do not look away but that reveal to us the risk and the fear and the courage of the performative act. This energy, this realness, these unassuming transparent choices make my heart feel more open, my eyes less in search of meaning, but opening into a peripheral seeing that senses and feels rather than just seeing the image in front.
This work asks for an empathetic viewing. Jimena is doing nothing more than taking us by the hand through the practices that she has been putting herself through during the process, a research of unearthing, hearing, seeing, understanding, and perhaps even reckoning with the memories in her body, her training, her culture, her dancing living body’s history. Living and dancing and learning in Argentina many years ago and then abruptly leaving all that behind, and from then on forever being a foreigner, an Other, going through Europe and then staying in New York.
Ver a Jimena en escena me hace llorar. No tiene que hacer nada más que estar ahí parada frente a nosotros, dejándose ser mirada mientras que se escucha una hermosa canción. Su cara tiene la mirada de alguien que está sintiendo mucho y me hace sentir case como que no debería estar mirándola, como que es demasiado íntimo este momento para ella y que nosotros como público deberíamos mirar para otro lado, pero sin embargo nos produce una especie de fascinación mirarla porque no hace nada más que estar ahí sintiendo algo que nosotros no podemos saber exactamente qué es, nos deja ahí mirándola sentir con total incertidumbre y a la vez con total certeza de que hay un mundo interno al ser humano al cual nunca tendremos acceso. Que siempre seremos extranjeros en la tierra del cuero del otro. Y sin embargo, me siento a la vez fuera de su mundo, de su cuerpo, y muy cerca porque hay también en ella una íntima invitación a vivir con ella su experiencia. Siento la distancia entre lo que ella está sintiendo y viviendo en escena y yo aquí desde el público tan desarraigado, desconectado de lo que viven los bailarines o actores en escena. El público somos como los extranjeros en el mundo de Jimena Paz…. Pero la canción me hace sentir a mí también y mucho! Reconozca el tipo de música, la voz de la cantante, me hace acordar de quién soy yo, de donde vengo. Quién es? Es Mercedes Sosa? Puede Ser… creo que reconozco la voz aunque no conozco la letra:
“Más allá de cualquier zona prohibida
hay un espejo para nuestra triste transparencia.” *
Lágrimas y lágrimas y muchas… ya no puedo seguir tomando apuntes de lo que voy a decir cuando tenga que escribir sobre este momento, sobre “la obra”; ya no puedo seguir mirando desde la cabeza, ahora es mi corazón latinoamericano el que mira con mis ojos de coreógrafa neoyorquina… Ya me siento más cercana a Jimena, más cercana a ella que al público, ya son ellos los extranjeros y ella y yo las del Sur.
As I cry and feel so much empathy for her standing there feeling her foreignness as this song in Spanish is playing I wonder if the audience feels anything at all. I wonder if they feel touched by her in a universal human way even though they might not understand and get the cultural reference, even though it doesn’t make them cry…? I wonder if they just engage in it in an intellectual way, thinking about what this might mean, and what it means to be sitting watching someone feel something onstage, especially a dancer who is not yet moving. I wonder if this makes them feel like foreigners in their own land. I wonder why so much fear and discomfort comes from not understanding another language, another way of feeling and being.
All of a sudden, the repetitive song is no longer playing and Jimena has moved towards the corner of the space with her arms open as she turns with a ritualistic, meditative quality that is clearing, cleansing, healing after all that crying and feeling and nostalgic remembering of a distant land and peoples. Her turning washes the tears from my face and opens my eyes to a wider seeing. Now I can see her feet and feel the reality of this moment passing and her feet feeling this ground that we’re all sharing and not that ground where they came from; but those feet are performing a very specific pattern, technique that they learned from one of her influential teachers in Argentina (this I know from conversations during her process), a practice that she was deeply invested in learning and that got abruptly interrupted by her leaving the country but that still remains in her body. She’s been coming back to this practice of turning during her process and she’s sharing it with us now and it grounds us in this moment, reminding us of the ephemeral nature of life passing by moment to moment, turn after turn. It is fleeting but also very grounding as we feel her feet turning and feeling the ground as we feel this ground. And with this act Jimena connects us with the time when her feet learned this practice years ago in Argentina. And then her fingers, still outstretched, begin to slightly brush up against each wall and it’s so satisfying… her fingers feel like the antennas of her body keeping her safe from collision, from getting too close, and at the same time kind of plugging her into the corner grounding her whole body and movement not only to the floor but to the walls as well.
No pares, quiero estar acá para siempre, viéndote girar, sintiendo la calma y lo sanador que se siente compartir esto contigo. La posibilidad de suspender el tiempo, suspender el cuerpo en giro, la posibilidad de colapsar aquellos giros de hiciste en Argentina y estos que estás haciendo acá. Y me pregunto si este proceso, este “ejercicio” de volver a las prácticas y a la historia de/en tu cuerpo no tiene en sí un deseo de conectar, unir, sanar las distancia geográfica, temporal, cultural y por lo tanto emocional de todos los giros y pasos y saltos y danzas de allá y de acá. De cocer, tejer, unir, curar de algún modo esa constante sensación en el cuerpo de vivir desarraigado, de ser un “inmigrante”, un cuerpo inmigrante que vivió un exilio de sus danzas allá a otras danzas acá.
Pero no es para siempre, todo cambia (como dice la canción de Mercedes Sosa), y Jimena ya no puede girar más. El cuerpo se cansa y envejece y no aguanta más, es una simple y necesaria realidad pero me da tristeza. Algo en la honestidad de Jimena en escena, en como cambia de una acción a la otra da mucha ternura, debe ser su vulnerabilidad. Su cuerpo es fuerte, hay una fuerza interna y una capacidad y maestría, años de experiencia, de sofisticación, técnica y acceso al cuerpo que se nota en los pequeños detalles de su movimiento, incluso en la claridad de sus transiciones.
Vuelve la música y esta vez es una Murga y esa fuerza interior que se intuía en ella se vuelve externa y una vez más siento en ella una necesidad de volver, de entender, de tocar, de sentir su tierra, sus músicas, sus danzas para deshacer esa distancia, ese desarraigo que tanto nos parte el corazón a los inmigrantes. De repente la vemos Bailar con mayúscula, saltando, moviendo las caderas, disfrutando y trabajando duro a la misma vez; el trabajo del bailarín, el trabajo de la liberación y del empoderamiento. El agotamiento. Y ahora no veo tanto a Jimena bailando su Murga Argentina sino que veo un manifiesto feminista, una mujer latina bailando su manifiesto. Y otra vez las lágrimas…
Now the music is off again and Jimena, exhausted, lies face down and begins to speak into the ground in Spanish. She speaks about a memory with her grandma. Again I wonder how the others feel, how they feel about her speaking Spanish. Once again I feel like an accomplice to her Latinidad, her Otherness, and I wonder how the non-Spanish speaking audience members feel. I know she wanted this written partly in Spanish or translated into Spanish, so I know that there is a political intention of claiming our language in this imperialist xenophobic first world country, but it feels like there’s more to it; perhaps simply letting herself be vulnerable and transparent enough to be the body from which Spanish flows out of instinct, the body with memories in Spanish.
I ask Vicky and Colleen after it ends if they felt alienated by not understanding and they say that they didn’t, they felt the feeling that emanated from her speaking and they “listened” as they “see or listen” to a dance. Perhaps that is what feels most feminist and feminine to me about Jimena’s work and performative body and presence; that she calls for a different kind of understanding, a heart-body understanding, a peripheral-seeing understanding, a felt understanding, an understanding of our feet in the ground and a desire to connect all of the grounds, especially those from which we have been uprooted.
*Excerpt from Arbol de Diana by Alejandra Pizarnik, Argentine poet whose poems are known for their stifling sense of exile and rootlessness.
luciana achugar is a Brooklyn-based choreographer from Uruguay who grew as an artist in close dialogue with the NY and Uruguayan contemporary dance communities. She has been making work in NYC and Uruguay independently and collaboratively since 1999. Her work is concerned with the post-colonial world, searching for an undoing of current power structures from the inside out. She is a two-time Bessie Award recipient and was nominated for a 2016 Outstanding Production Bessie for her work An Epilogue for OTRO TEATRO: True Love. Other accolades include a Guggenheim Fellowship, Creative Capital Grant, Foundation for Contemporary Arts Grant, Lower Manhattan Cultural Council President’s Award, and the 2017 Alpert Award. In 2015, OTRO TEATRO was named “Best Touring Work” by Austin’s Critics Circle. She is currently a 2017-18 Brooklyn Arts Exchange Artist in Residency and will continue on for a second year developing her current project: Brujx.