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.

Ririe-Woodbury: Elizabeth, the dance

Choreographer Ann Carlson has a longstanding relationship with Ririe-Woodbury, originally studying modern dance under company co-founders Shirley Ririe and Joan Woodbury at the University of Utah in the 1970s. While there, Carlson also studied under the late Elizabeth Hayes, who brought the dance major to fruition at the U in 1953. Since Carlson began her choreographic career in the 80s, Ririe-Woodbury has added a couple of her works to their repertoire: “50 Years” (1996), most recently reprised in 2016, and now a world premiere for the company’s spring season at the Rose Wagner, “Elizabeth, the dance.”

I’ve only seen these two dances by Carlson, but even without the context of her entire body of work, I feel as though I know her voice - so singular is her style of piecing together vocalized text, a never-ending stream of new ideas, and movement that often seems to stem from a natural physicality.

“Elizabeth, the dance” truly delighted me, and so it’s almost a struggle to pin down the why and the how.

“Elizabeth” is like a collage by a well-known artist that you might convince yourself you could or would make: so many different components and references that you can clearly identify throughout, yet, strung together in a masterfully unique arc, the effect is truly producible only by that artist.

I use “arc” loosely here, because there was not one obvious narrative throughout. “Elizabeth” chronicled individual experiences, in real time, of each performer in reaction to a spectrum of challenges, prompts, and experiences. Sometimes autobiographical, sometimes abstract, the dance constantly glanced across a soaring range of emotions and qualities. Carlson’s structure laid each performer bare for us, while simultaneously allowing them to exist as a collective unit.

Multiple layers of whimsy and diversion were interwoven throughout, beginning with the dancers’ costumes. The base was a black skirt and leotard combo, the same for both the three men and three women. The skirt was then tied into pants, thrown over the head, tied up into a toga, and more. A tutu, tiara, and clown costumes were also donned at various points.

The set by Torry Bend added another layer of visual interest. Oversized, stackable foam blocks formed a wall that the dancers then disassembled, reassembled, pushed around, threw at each other, and launched themselves into over the course of the dance.

The array of visual elements never felt overdone to me; if anything, the costume and set changes always felt natural, like unearthing and assuming new roles from a dress-up chest in the attic. The changes re-directed the dance in unexpected and surprising ways each time, and I found myself wondering when the dancers had the chance to stock the next costumes or props behind the always-moving wall.

Throughout, images were suggested to me and then affirmed by some signifier soon after. This made the dance feel deliberate and well-crafted - an aware dance, that was able to anticipate and acknowledge its impact at any given time. This was achieved in tandem with the sound score - live, onstage accompaniment by multidisciplinary musician Matthew McMurray. He used quite a few recordings by The Beatles, which often connected to the images on stage.

Dancers in formation planted their hands on the ground, scurrying around with their feet while their black skirts swooped over them. I thought they looked just like a flock of birds descending upon a field. Immediately after, McMurray introduced The Beatles’ “Blackbird” into the mix. It was a simple connection, but one that gave me goosebumps.

“Lady Madonna” (“...see how they run..”) accompanied the performers running frenziedly throughout the space, in varying, cartoonish ways. “You’ve Got to Hide Your Love Away” (”...gather ‘round, all you clowns...”) was slowed down and warped by McMurray as the dancers donned clown accoutrements and slumped along the foam wall in a sad yet mostly comical procession.

It’s difficult to talk about the dancing in "Elizabeth" as a whole because so many puzzling and amusing things happened.

Mary Lyn Graves had a solo for which she appeared en pointe, leaping spritely from side to side, and bourrée-ing yearningly. She then began crashing into performers, which caused her to practice a melodramatic gasp-and-fall on loop, until she reached the perfect cadence of gasp and fell for a final time.

Bashaun Williams had a moving solo, beginning with a skillful basketball dribble, that featured a recording of him telling a story, concluding with “...angels exist, bro.” It was funny to hear him deliver that sentence, but the story and solo were both touching and thoughtful.

Melissa Younker, Yebel Gallegos, and Alexandra Bradshaw, their skirts fashioned into draped togas, took turns balancing upon a single foam block quoting and describing an inspirational, though unnamed, woman. Posing and gesticulating, they appeared like three muses or the ancient Greek chorus.

Bashaun and Daniel Mont-Eton strode onstage holding three white balloons each, while McMurray’s sound became a down-and-dirty, bass-heavy track. The mysterious orbs and the visceral, vibrating music made Daniel and Bashaun seem so cool and powerful.

There were a lot of these moments for me: captivating visuals that also seemed to vibrate with something deeper. Maybe you could pinpoint what that deeper element was, or maybe not. But I loved them both on their own and as a part of the larger accumulation of many working images.

Ultimately the dance ended, as they do, but for me it could have gone on into the night (never mind “too much of a good thing”). Carlson seemed to anticipate this with her false ending. We clapped, but the dancers returned to the blocks and began a rather meditative section.

Then a popcorn machine appeared. The smell of butter wafted over the theater, and suddenly the dancers descended upon us, crying out like concession hawkers, “Popcorn! Popcorn for everyone!” A free-for-all ensued: Dancers aimed kernels into audience members’ mouths, everyone munched from their personal bags, and the dance seamlessly melted into a rambunctious post-show gathering of performers, family, and friends.

Popcorn free-for-all following "Elizabeth". Carlson appears to the right of the frame, wearing all black, glasses, and holding a bag of popcorn. Photo by Amy Falls.

And it was truly magical; we had made it to the end and were duly rewarded.

Carlson remembered her dancers in crafting such a human work, with so many moments for each to shine. She remembered her mentors and the past through the era-traveling patchwork she has created with “Elizabeth, the dance.” Finally, she remembered us, the watchers, without whom the dance would exist only for the do-ers.

Writer's note: Congratulations are in order for company dancer Alexandra, on a fantastic final performance with Ririe-Woodbury. Salt Lake City will miss her dearly, both onstage and off!

Amy Falls has been loveDANCEmore’s program coordinator since 2014, transitioning Mudson from its original home at the Masonic Temple to more recent venues such as the Marmalade Library. She can also be seen dancing in projects with Municipal Ballet Co.

Municipal Ballet + Conquer Monster: Metatransit

METATRANSIT was a joint production by the musical duo Conquer Monster and Municipal Ballet Co. Being a sci-fi buff myself, I was excited to learn that the premise of the show was an abstract dance narrative inspired by the comic series, “Purge Worlds” written by Joshua Oman and illustrated by Chris Black. Conquer Monster originally crafted a custom soundtrack, METATRANSIT,  which was designed to be played while reading the comic series. To my delight, the soundtrack was played live for the show. Video-glitch artist Tanner Hawkins was also involved in the mix by providing video content.

The event was held at Urban Lounge. To be honest, this worried me. I had only ever seen music concerts there complete with beer sticky on the floor, and sweaty millennials bouncing only slightly to the music. My worry proved unwarranted as the space was transformed for the show. Company director Sarah Longoria took to the stage and introduced the evening. She mentioned that her company does “experimental ballet” and that this show was a little more than that, being their first time performing to electronic dance music. I settled into my seat as the fog machines hissed, spurting out smoke that set the atmosphere.

DYSTOPIAN UNDERWORLD by Sarah Longoria was the first piece in the show. It opened with dancer Hannah Bowcutt seated mid-stage with her back to the audience. The movement for this work contained the most classically recognizable ballet moves. There were long and beautiful lines in the choreography which fit Hannah perfectly. My favorite moment was when she took her socks off and tossed them to the side. This action somehow signaled to me that Hannah was preparing to dive in a little deeper for when she returned to dancing she had a new and visible determination with each movement. Extensions appeared as a motif throughout the work. While Hannah was captivating to watch as she held her legs impossibly high, I couldn’t help but notice that the graceful movements did not match the title of the piece.  

Hannah was joined by Amy Falls and Nora Price for the second work, FLUX PERIPHERAL by Erica Womack. The ladies were wearing white and gray and each had a different Ziggy Stardust-esque facepaint. This trio had moments of scrambled video bits projected on their bodies as well as onto the backdrop. The ladies moved with a lovely sense of timing during all of the unison phrases. The choreography highlighted the music with dynamic accents. The motif for this piece seemed to be a deep second position plié while in unison, and it was very satisfying to watch. The dancers all had stoic facial expressions and seemed to represent some disciplined yet graceful ideology through their movements.  

GALAXY SURFER was the first video work by Tanner. My favorite images were of the the killer scorpion robot. I didn’t recognize any other images used from different sci-fi movies or shows, but the futuristic theme was apparent in showing images of explosions, robots, fancy switchboards and distorted bodies.  

WAVEFORM DISTORTION by Kaya Wolsey was the next work presented. The music definitely added a new tone for the show. It was driving and lightning fast. I noticed myself and others tapping along in time with the beat, caught in the energy that Conquer Monster was creating. The choreography mirrored the pace of the song with moves executed on every count.  Cynthia Phillips was so precise yet fierce with every phrase. She was vibrant and moved with a determined force. The lights were dramatic, dark and colorful, making this setting very different from the light, ethereal moods of earlier on. Cynthia wore all black and was smirking a little wickedly throughout her solo. While I was very impressed with the athleticism of the piece, I also found myself wishing there had been more moments of dynamic time changes like the one repeated variation Cynthia did in the middle of the dance.  

The energy from the previous piece carried us into a duet with Cynthia and Kaya Wolsey.  TRANSMITTING DNA AT 299 MM/S was a fitting name as the movements continued to  a crescendo. Choreographer Jessica Liu used partnerwork and lifting with the duo to create moments of suspension. Cynthia and Kaya locked eyes with each-other, becoming the first dancers to visibly see and acknowledge their shared presence. The lighting continued with dark washes of solid color changing with the pulsing beats. Both dancers were emotionally invested, and proud. Both clad in black, I immediately concluded that this group of dancers was meant to be in opposition to the white/gray group. This second group had smaller numbers, but seemed very powerful in their movements which set them apart from the aloof aesthetic of the other dances.  

The second video, POSTHUMAN, showed much if not all of the same images from GALAXY SURFER but in different sequencing. This time around I noticed smaller details such as the repeating sign “Oasis” despite other images of war, high tech robots, explosions and distorted people. I found myself having little moments of nostalgia whenever I could see “Play” flashing on the top of the screen like an old VHS player.  

In SELF-SIMILAR FREQUENCY DOMAIN by Chase Wise we saw the two groups join forces and share the stage. While the girls danced in unison during the work, I could still see the emphasis on the differing styles of movement. The two dancers in black had a little more attack and sharpness to their movements while the gray/white group ebbed and flowed. Chase used lots of directional changes which were extremely refreshing on the intimate stage. Detailed gestures were woven into the work and punctuated by the dancers framing their heads with their hands. This move seemed to demonstrate some sort of personal obstacles or a mental block. I couldn't help but to try and find a narrative that I could follow within the movement. I caught my breath when for a moment all of the dancers were on the floor with their feet up and hands in a  “stop” position. Fast floorwork made the piece exciting and lent a contemporary edge to the show. While this piece was strong choreographically, I felt that the unison sections seemed a little under-rehearsed and the girls weren’t completely in sync.  

During ANAGLYPHIC VISION(S) by Trevor Naumann, the white/gray group returned with more dancers. I could see the group making amorphous shapes in positive and negative space. There was minimal contact during these shapes, which was something I longed to see a more of.  Naumann added little snippet solos that broke away from the group. The solos were titillating, leaving me wanting more of those highlights to break up the unison.  

After reading the program, I was intrigued that NOISE DECAY by Nora Price and Emily Snow contained an improvisational framework that the dancers could work within. At first all of the dancers were huddled on the floor in a clump. They held this position as Emily slowly and deliberately padded towards them. As she got closer to the group, they began to peel away one by one. Emily seemed to be breaking up the group, changing their paths and altering their destinations which allowed for happy accidents of interaction. Perhaps the most vivid moment of the piece was when two dancers were left downstage and center. With a slight pause the girls reached out and touched the other’s sternum with their hands right over the heartspace. The detailed moments of contact were so few and far between in the show that this moment stuck with me throughout the evening. It added a touch of humanity to the sensory overload of loud music and static-filled imagery in much of the concert.  

While STARPORT DESTRUCTION SEQUENCE had a few new images thrown into this video interlude, I wanted to see more variety the third time around. Since the dances in the show lacked a clearly outlined narrative to follow, I assumed that the videos were meant define the adventure. While I could tell that there was a story of chaos and war being told, I wished that the videos were able to provide the context that the dances were missing. I wanted to know more about the inspiration of the comics behind the dances. Perhaps in the future, more collaboration could happen between the choreographers and video artist to help further the story for the audience.  

The last piece of the evening was a composite of all that came before. SPECTRAL DRIFT started with Amy. She commanded the audience’s attention as she progressed through a repeated movement phrase from FLUX PERIPHERAL. Each dancer joined her one by one. It was extremely gratifying to see everyone in complete unison with the return of the deep, second position plié. At one point the stage was split into two parallel lines with the dancers facing the other side in a showdown. Some of the dancers would move to the middle and repeat solos they had executed from previous pieces. At the end of the piece I saw a reimagining of the opening image of Hannah, but with all of the dancers. The girls were seated at the end of the stage with their backs to the audience. Every other dancer had their elbows up and out, creating a triangular silhouette that was juxtaposed by the curled-up position of the remaining dancers. The end of the dance was choreographed to coincide perfectly with the winding-down of the music and made for a striking final image.  

This was my first time seeing work by all of the artists involved in the show. I was not disappointed. The concert was an excellent length with seamless transitions from piece to piece thanks to brilliant playing by Conquer Monster. The dancers wore the same costumes throughout, which gave a sense of continuity. The live music provided the ever-beating heart behind the movement. The videos were interesting despite being a little disconnected from the dancing. I was confused about what was supposed to be happening in the story which made me want to read the comic book and then see the show again. Overall, it is refreshing to see ballet being taken in new directions by Municipal Ballet Co. After speaking with some of the creators involved, they seemed open to working on more projects like this one in the future. This mixed media approach featuring local artists seems to echo a change of times in the performance world, by blending the lines between art forms and fostering collaboration.

Ashley Creek holds a BFA from the University of Utah. She is currently the Co-Director of Brine and a member of Myriad Dance Company. Ashley teaches with Ballet West and performs in different projects around the valley.  

Ballet West: Journeys and Reflections

For the close of their season, Ballet West presents a program that spans over 80 years of dance making with three astoundingly diverse works. Beginning with George Balanchine’s Chaconne, dancers in softly draped dresses cover the stage as Gluck’s pastoral score drifts through the theater. They gently weave symmetrical patterns and float into statuesque poses as Emily Adams and Adrian Fry impeccably set the tone for the ballet. Chaconne is blissful, regal, pure in its clarity. The ballet’s movements are deceptively simple, creating a peaceful ease for the viewer. Your eyes can relax and take pleasure in the tranquil balance of Balanchine’s masterful organization of dancers. Katherine Lawrence and Christopher Sellars offer a bright break from the calm with a sweetly uninhibited duet flourished with jester-like wrist twirls and Mercurial attitudes. Jenna Rae Herrera also stands out with her warm and girlish energy. Another dancer might feel overdone, but Herrera’s bubbling-quality comes across as genuine.  

The high point of Chaconne is Adams and Fry’s second pas de deux. Both dancers possess an intriguingly royal quality, luxurious and crystalline without being cold. Fry, with his delicately flicking wrists and sudden drops into deep second, is endlessly gracious in his performance. The brighter yet still regal tone of the pas de deux showcases Adams’ gift for performing Balanchine. She joyfully plays with the music, flirting with timing until you can no longer find the boundaries between her dance and the orchestra. Her movement has an invigorating dignity and feels spectacularly spontaneous.

As heavenly as Chaconne is, Façades offers a more fraught mood. Opening with two baby-blue suited men in white wigs and heavily powdered faces hidden by lace fans, Garrett Smith’s revised ballet uses abstracted Baroque references as a way to address ideas of reflection.  Utilizing the ballet trope of two dancers creating the illusion of a mirror, Smith matches Adams in a red tutu with Allison DeBona in black. At first an impressive feat, the trick devolves into predictability as the relationship between the reflections never develops. Though their costumes are inversions of each other, the pair’s movement remains identical. I wish Smith had heightened DeBona’s mirthful quality against Adams’ timidity.  

Façades is satisfyingly fluid and Smith has a gift for crafting transitional moments. One of the more interesting sections found Adams staring into a string of dancers, giving the illusion of an endless hall of mirrors. As Adams moves, they echo and the slight delay of passing motion adds richness to this simple idea. I particularly enjoyed a moment where the two baby-blue Baroque men from the opening conduct the ensemble in a sweep of the stage, each woman lifted with stabbing legs to give the impression that the room had shattered.

However, the clear highlight of the evening is Kurt Jooss’ The Green Table. Created in 1932 on the eve of Hitler’s rise to power, The Green Table is indisputably a masterpiece. Dissonant, foreboding chords resound as the curtain rises to reveal The Gentlemen in Black spread across a green table. To a sarcastic tango, these ten masked diplomats with cavernous black eyes and white gloves cartoonishly converse. A veneer of politeness diffuses the ever-present violence in their gestures. As one man offers his hand, he raises his other in a fist. One bows to hide another shooting someone in the head. Two fingers point like a pistol across the table. The audience around me began to laugh. The Gentlemen in Black were funny and innocuous until the unexpected shot of a gun. Suddenly, we arrive in Death’s stark world. A glowing skeleton with wide luminous eyes, black boots, and a Trojan helmet, Beau Pearson as Death moves with precision and relentlessness. His eyes glow and widen, imbuing his percussive movements with powerful terror.

As Death presides, the patriotic Standard Bearer enthusiastically waves his blank flag and welcomes soldiers past Death’s clockwork arms. The Young Girl says goodbye to her sweetheart and The Woman comforts the Old Mother. The Profiteer slithers through, scanning the ranks for his next goldmine, and each soldier passes under the arm of Death who cooly turns his head to the audience as if asking if we understand yet. The next five scenes enact different atrocities of war. The soldiers grapple over the stained flag as Death circles the stage with unforgiving whips of his arms. The Profiteer slides through the carnage with greedy hands to steal a coin from a corpse. The Young Maiden sways listlessly from soldier to soldier until Death protectively hovers over her limp body. In a heartbreaking solo, Beckanne Sisk as the Old Woman offers herself to Death with small resigned steps and clasped hands. Sisk was transcendent in this role, her pained gaze reaching beyond the audience with a weighted resonance that brought me to tears. Death welcomes her gently and softly carries her passive body off stage. Katlyn Addison as the Woman (a role also called the Partisan) rushes the stage with uncompromising pride. She powerfully challenges the audience as she stands in front of a firing squad of soldiers, refusing to bow to anyone save Death.

Pearson as Death approaches each scene with astounding nuance. He greets the Partisan as an equal, meets the Old Woman with tenderness and is menacing towards the Profiteer. He is efficiently cold with the soldiers. After each new kill, he looks directly at the audience, silently asking us again if we understand. In the last scene, Death bears the flag as each broken sacrifice parades past. Death returns to his earlier solo, even more powerful as if fed by the destruction. A shocking fire of a pistol brings us back to the green table. As the pianos begin the now familiar sarcastic tango, the Gentlemen in Black repeat their polite charade. Witnessing the futility of the diplomats’ twirls and bows, the audience did not laugh this time.

Ballet West’s choice of The Green Table for the last performances of their regular season is unbelievably, even disturbingly, prescient. Jooss’ seminal work, relevant as long as men profit from war, feels even more necessary given that our country, barely a day before opening night, bombed a nation to whose refugees we refuse to offer asylum from a devastating six-year-long conflict. The Green Table, a masterpiece already, becomes more vital. The ballet rises above the rest of the evening. It transcends the concert, unequivocally and eloquently speaking of the futility of war in all circumstances. I cannot imagine a more timely and needed message.

Mary Lyn Graves dances with Ririe-Woodbury, appearing in a new work by Ann Carlson this week. She will also be seen performing in the upcoming ‘very vary’ by Molly Heller in May.

RDT: Dabke

In a striking moment from Dabke, Repertory Dance Theatre’s eight performers linked arms, stomping and dipping in rhythm, they wove across the Rose Wagner stage to Ali El Deek’s crooning voice. Outbursts of solos and duets juxtaposed these group interludes, with performer Justin Bass’ rapid fire tiny foot poundings and long arabesque extensions especially memorable.

After the show, performer Lauren Curley remarked that though the performance is physically rigorous, she feels carried by the energy of the piece. Similarly, the program notes from this April 6 - 8 performance conclude that “Watching Dabke is like looking into someone’s heart or diary. The dancers let the audience see their souls, frustrations, insecurities, passions, yearnings, fears and their hope.”

I longed to be carried by the energy of the work the way that she described.

All the pieces were there; the dancing superb, the concept relevant, program notes and pre-performance documentary intended to make the work accessible. Yet, I struggled to remain engaged with the performance. Was it me? Other audience members loved the work, based on tales from social media. Maybe I wasn't present enough? Or perhaps it was something to do with the choreographic scaffold, which I did not find adequate to support the dancing or the ideas.

Dabke was developed by Zvi Gotheiner in New York, and has been performed across the nation to both acclaim and controversy. Based on the dabke, a folk dance originating in “a region of the Middle East that includes the countries of Jordan, Lebanon, Palestine, and Syria” (per the program notes), Gotheiner and company gathered material from YouTube videos and melded it with their own postmodern steps and structure, infusing their personal stories to build duets and solos.

At this point, I know you’re expecting me to write about cultural appropriation.

And yes, grappling with the violence of cultural appropriation has never been more relevant. This is true in relationship to concerns in dance - the topic of the most recent Conference on Research in Dance was “Beyond Appropriation” - and Thursday’s news of the US bombing in Syria - the latest in a complicated history of involvement. So did Gotheiner ‘do the dabke right?’ I don’t know. There were problematic elements on the one hand, but on the other hand, I appreciated and related to his honest grappling in the dance and program notes with a cultural history criss-crossed with appropriations and oppressions.Taking dances off YouTube and rearranging bits of them on stage is not a new idea. What did seem new was his frank discussion in the notes of this process and why he did it.

Fundamentally, did the staging do the piece justice?

I longed for a narrative through line that could carry me during the work, or more juxtaposition and disruption in the jarring musical transitions, amplifying the original score by Scott Killian that fades snippets of song in and out. Somehow Dabke was awkwardly between two possibilities, achieving neither one. Gotheiner played with different arrangements of dancers, steps, and music, lifted up the curtains to expose the wings, but this format of transition between duets and solos to group pieces still felt stale.

Choreographers need editors. Before my simple review hits your computer screen, at least two people will have edited it. Perhaps a similar process could have helped Gotheiner better include the audience in the satisfying emotional journey that the performers enjoyed.

If you missed Dabke, you can look check out Gotheiner’s new commission for RDT, Sacred Land/Sacred Waters.

Liz Ivkovich is the editor of the print edition of loveDANCEmore. She is putting her MFA in dance (Utah ‘16) to work for the University of Utah’s Sustainability Office and Global Change & Sustainability Center.