SALT in concert at the Grand Hall

SALT in Concert showcased works by choreographers from across the nation, “presenting fresh perspectives in dance,” as Artistic Director Michelle Nielsen described in her program note.

 I am torn between appreciating that SALT didn’t try to act like the pieces they presented were related, and wishing that they were related.

 The attention to detail from SALT’s organizers is quite evident, and the company seems to be run very well, especially for such a relatively new organization. Director Nielsen greeted audience-members at the entrance to the show, and at least four others were there handling tickets, programs, and questions.

 The dancers of SALT Contemporary Dance are well-trained and extremely talented. Though the individual dancers exhibit distinct artistry, and although the company works with many different choreographers, SALT’s collective style is characterized by spinal fluidity and a close connection to the floor.

 The first piece, “A Particulate History of Friendship, The Trial and Absence of Stillard Mave” choreographed by Alex Ketley, featured wonderful moments of sustained dancer-to-dancer eye contact, and dancer-to-audience eye contact. Also noteworthy were the expressive shoulders of Amy Gunter Lolofie, which made her choreographic interpretations unique. Throughout the piece, the large number of performers (including both SALT and SALT II dancers) roamed around beyond the stage, making the Grand Hall at The Gateway feel again like the pedestrian-filled train station it once was.

 After such a large group number, it was refreshing to see a work with only three performers. “Paper Cuts” by Peter Chu featured brown paper bags and brown paper shreds as props. What stood out most in this performance was Becca Fullmer’s intense energy, her full-body commitment to her movement (especially in multiple falls to the ground), and the beyond-openness of her front body when the choreography called for it. I thoroughly enjoyed seeing Becca take her movement so far.

 Next, two Brendan Duggan premieres were showcased back to back, exhibiting a wide range of choreographic style. Performed by SALT II, Duggan’s memorable “Behind a Waterfall” was successful in humorously pointing out the absurdity of clamoring for attention and approval via social media. It was perhaps a good choice for a second company because the focus was much more on the easily relatable characters than on technique.

 Duggan’s “Will the Statue of Your Beauty Walk?” was an excellent piece to follow, and the one I found most interesting. It began with small, natural human gestures that were strikingly lovely when performed in unison. This choreography and execution suggested to me a self-consciousness or worry that was maybe related to putting on the right appearance, or maybe about approval or relevancy. Rebecca Aneloski’s eyes shone with believable emotion, making her approach all the more poignant.

 Then the dancers released their ponytails to let their hair down, which was maybe symbolic of releasing from some kind of constraints or expectations. I very much appreciated the unique “hair-ography” that followed.

The male dancers of the company were left watching it and, one at a time, were pulled into the group of hair-women and pushed around and through it. The men alternately tagged each other in to be moved throughout the hair-women, or escaped to take a break and walk around the perimeter of the stage. It is unclear to me what inspired this (maybe the women wanted the men to understand what they were going through, and it was intense for the men to experience it or to not know how to help), but it was interesting to watch nonetheless.

 This section dissolved into some awesome partnering between Logan McGill and Arianna Brunell. The inventive choreography was smoothly executed and enthralling to watch.

 I know that sometimes choreographers want to leave their work open to audience interpretation, but I would have liked more clarity as to how the distinct sections of “Will the Statue of Your Beauty Walk?” were related, and what the full intention was behind the piece. Bits of vocal text at the beginning and middle gave hints, but they were not really quite enough for me.

 The concert closed with Joni McDonald’s “Beyond the Limitation,” that featured two couples doing interesting partner work to intense ambient music. For a company that prides themselves on being cutting-edge, I would recommend for them to move on from this sort of music. The theme or story of this piece also felt under-developed, but the intricate partnering was an excellent example of a choreographer playing to her strengths.

 Overall, SALT in Concert was an interesting and enjoyable show, and I very much look forward to seeing what SALT shares next.

Kendall Fischer is the Artistic Director of Myriad Dance Company. In addition to dancing with Myriad and with Voodoo Productions, she has also enjoyed opportunities with SBDance, Municipal Ballet Co, and La Rouge Entertainment, among others.

SALT Contemporary Dance: Spring Concert

SALT Contemporary Dance closed their 2016-2017 season with a collection of current works from local, national, and international choreographers. This was my first time witnessing a SALT performance and I am so grateful I finally had the opportunity.  

The evening took place at Infinity Event Center. The venue was transformed into a contemporary auditorium where the audience could wander between upstairs and down and eventually find their seat below the stage. Seating was difficult without any sort of risers. I managed to sit eight rows back but ended up standing off to the side in order to see. The walls of Infinity Event Center are also incredibly thin. Music from next door blared throughout the night. (Unfortunately this has happened at every performance or event I’ve attended there.) Luckily, SALT was captivating enough for the distraction to be minimal in scope of the concert’s entirety.

Paper bags purposely littered the stage for Paper Cuts by Peter Chu, the opening number. The simple prop decorated the stage long before the concert started. My mind had the opportunity to wander, questioning what choreographic choices Chu would make with the simple and noisy prop. His choice of placing the bags overhead surprised me. It’s uncomplicated but somewhat dangerous. Chu’s image of the dancer moving with the paper bag left her blind and masked. What was she hiding? The two other dancers guided her throughout the stage and I was fascinated by her fearlessness and willingness to trust the others. Once the bag was lifted the dancers became braver, and stronger, with movement choices I interpreted as more masculine. They each demanded the audience’s attention with stark steps and pulsing contractions. Paper Cuts set a contrastingly powerful yet vulnerable tone for the evening. I found myself frequently going back to these two motifs. I was captured by how SALT managed to showcase a unique sense of vulnerability while displaying unwavering strength.

Voice of Reason by Ihsan Rustem followed. Blue lights echoed through the darkness as four dancers broke the stillness. My attention was caught and never left. Men highlighted the piano notes in the score while the women took control over the vocals. The combination was haunting. Rustem’s movement was connected and fluid. Each dancer spoke their own voice, their own story; then in a stunning moment, they all came together. Twelve dancers, twelve individual artists, executed unison on a heavy bass drop. It was the most refreshing dance image I’ve seen all year. This piece showcased SALT’s technique and work ethic, and appeared well-rehearsed within Rustem’s artistry. The piece ended in an evolution of the community breaking away. The stage was left with a final endless duet. It was constant motion, staying true to Rustem’s fluidity. I didn’t want to look away and I didn’t want the piece to end.

Eric Handman’s Omnivore closed the evening’s performance. I have always been a fan of Handman’s work and this was no different. Subtle waves of movement swept over the floor,as if the water held a steady pace.  Handman’s work has a fierce attack to it, but Omnivore’s attack was soft and serene. There was a motif of partnerships and trios slowly falling in weight-bearing shapes that left me speechless. The shapes seemed to stop time. I allowed my mind to wander within this work and the imagery reminded me of Dali’s The Persistence of Memory. The melting watches are strong but sustained; the dancers held their ground but kept falling. The only reason you knew time still kept going was because the music acted as a backbone for the piece. It was one of the more beautiful works I’ve seen of Handman’s and SALT performed it effortlessly.

Ultimately, SALT is carving out their path in Salt Lake City’s dance community. They are speaking to the necessity for current and technical work.  The performers have the maturity of a company that has been around much longer than just four years. SALT allows the audience to think while ascending to the architectural beauty of extremely technical dancing. I was completely captured by the beauty of the evening.

Temria Airmet is the Artistic Director of Myriad Dance Company. She received her BFA in Modern Dance from the University of Utah and currently teaches with Ballet West, Tanner Dance, and Millennium Dance Complex.