On Thursday night this last week, Salt Lake City got a big dose of queer and trans celebration from Sean Dorsey Dance Company at Kingsbury Hall. It was an evening of vignettes performed by five nonbinary and masculine-presenting dancers that touched on stories of divinity, community, pleasure, and self. The work was accompanied by spoken narrative that has stuck with me since that night, “You are longing given a body… Who made you small? What do they get from this? When did you forget?... We are made of stardust… The earth is sacred and so am I… Letting ourselves enjoy pleasure is revolutionary, want to start a revolution with me?”
One of the first sections was a solo accompanied with spoken word that helped to establish a vocabulary for movements which were repeated throughout the work. The circling of the arms like rolling up a blanket became associated with creative energy, a more intricate gesture of tapping the hands down the body with only thumbs and pinkies extended became a symbol of unconditional love, pulling hands from the chest represented the longing that comes from deep within each of us and started in the cores of the stars that created our atoms — which Sean reminded us at one point in the show is very poetic, but it’s also true.
Photo by Lydia Daniller.
These gestures arose and dissolved from sweeping, spinning dances by the group, often augmented by long skirts that added to the effective beauty of these sections. The smooth partnering and interwoven pathways revealed a deep sense of connection between the performers and offered a glimpse into what more interdependent community might feel like in a world that is so focused on individualism.
The moments that have stayed with me the most, however, were the intimate duets that repeated a few times throughout the work. One dancer stood behind the other, at first in an embrace, and then beginning to guide their partner through circling, soft gestures in the arms, at times revisiting some of the common vocabulary of love, creation, and longing. It seemed to me that the leading dancer was softly reminding their partner how expansive they are, how to dream, and how to create. I found myself reflecting on the relationships in my life that help me trust myself more deeply and connect me to the wonder that is being alive. That kind of support is something we all need throughout our lives and it's something that my queer community especially has a lot of practice in doing for each other.
In a state that has been increasingly targeting trans and queer bodies, this performance was a breath of freedom. The dancing was beautiful and accessible, each section was fully developed but short enough that I never lost interest. The story was vital to counter the fear and constriction that has been present in my body since the election and replace some of it with openness, expansion, trust, and wonder. Thank you, to Utah Presents, for bringing art that bolsters our community and turns us towards collective liberation.
Kara Komarnitsky grew up in Salt Lake City and recently graduated with a BFA in Dance from Ohio State University with minors in Environmental Science and Business. Her work approaches the complexity of human interconnection with the planet, pulling inspiration from the natural world and environmental research. While her primary medium is dance, Kara regularly uses projections, film, sound, and interactive technology to create immersive performance experiences. Her piece Tales of the Deep (2018) recently won third place in the Midwest Climate Summit’s Climate Stories Competition and her thesis, Interconnect (2022), received an Honorable Mention at the OSU Denman Research Forum 2022. Other places her work has been presented includes the OSU Student Concert, OSU BFA Showcase, and the Ohio Dance Festival Professional Concert.
Another view of the show from our loveDANCEmore intern, Allison Shafter:
Sean Dorsey continues to amaze with The Lost Art of Dreaming, performed at the Kingsbury Theatre on November 21. Dorsey’s work inspires a sigh of relief; the show acting as a symbol that trans art will continue to persist amongst an uncertain political future. Blends of theatricality, partnering, elegance, and comedy created an atmosphere that was ever changing, yet grounded in its existence. The work is described by Dorsey as both “a spell” and an avenue to “reclaim, remember, conjure, co-create and manifest OUR BIRTHRIGHT”.
Dorsey, an Emmy award winning choreographer, is known to amplify queer and trans experiences within his works. The Lost Art of Dreaming is no different. The message of the show, one of acceptance, reclaiming, and love is made accessible to the audience. The use of spoken word is expertly applied throughout the pieces. Vocalizations inspire and complement the dancing, guiding audiences through their own interpretations of the night. Original songs performed by Dorsey further aid audiences in this exploration.
Kingsbury Theater observed the production in awe. Intricate gestural work becomes a staple of the show. These gestures are contrasted with expansive movements that build a whimsical world onstage. Constant motion and fluidity perfectly illustrate the show’s title. The dream-like environment is supported by an incredible sound score. Some of my personal favorite compositions came from Anomie Belle, their work transforming the stage from marley to water, with strings that mimic ripples and waves. The illusion is furthered with continuous motion from the dancers. Architectural shapes sway back and forth before disintegrating into new movement patterns. The Lost Art of Dreaming appears as a work retrieved from the ocean.
Repetition in the choreography is expertly crafted throughout, with the building and crumbling of shapes and textures resulting in stunning visuals. Unison sections are crisp with power and physicality. Duets fold and unfold beautifully with a quiet intimacy and trust between the dancers. Additionally, whacking technique, known for its origination within queer spaces, is utilized with a stand out performance from Brandon Graham. Further stand out moments come from dancer Nol Simonse as he approaches the other dancers draped in fabric that begins to cover their lower bodies.
While tackling emotional topics, lightheartedness is interwoven. Audiences cheered and laughed as dancer Héctor Jaime offered a light tonal shift to the piece with a comedic monologue and theatrical solo. Messages of “JOY” are perhaps most pronounced within this section with cheers, gasps, and laughs traveling from the crowd.
In the second half, I AM THE OCEAN, sung by Dorsey, accompanies soloist David Le. Vocals both complement and contrast Le’s movement, developing an intriguing relationship between speech and dance. Ideas of dreaming and reality become more intertwined with the work's introduction of scientific theory. Dorsey recalls the Big Bang Theory stating that “we are all made of stardust.” The work ties the creation of both the dancers and audience members to the same stars. This encouraged me to consider that the inception of the universe is as unpredictable and explosive as its present. Through all the chaos, there is a strange comfort in the wonder that we all come from the same act of chance.
The finale piece featured the stunning silhouettes that appeared on the show’s promotional materials. The production’s dreamy quality is perhaps most pronounced in this final number. Its choreography leaves audiences to contemplate how the second half of the production mimicked and built upon the first. Movement of the dancers slowly dissipated but their energy seemed to project even further in the moments before a black out. The theater erupted with a standing ovation to Dorsey’s work and its advocacy for queer art, belonging, and acceptance. Dorsey made a point to thank Utah Presents, stating that they were one of the first organizations to support a showing of the work. I strongly recommend seeing The Lost Art of Dreaming if you get the chance. It was a beautiful night.
Allison Shafter is the 2024-25 loveDANCEmore intern.