Choreography by Many
Writing Out of Sequence
I’m a little out of sequence posting this response – lots of dance at the beginning of June. I’ve watched and written this festival for 3 years. This year, The program consisted of two different experiences: an evening of theater dance and an afternoon of site-specific dance.
In her program notes, Marie Tollon (ODC’s Writer-in-Residence) framed the Friday night’s program as “Identity as a Constellation,” which aptly captured the thematic connection between the two performers, Nā Lei Hulu I Ka Wēkiu and Christopher K. Morgan. Both share a connection to Hawaiian tradition in contemporary contexts. In their dances, these connections were forged in direct ways, explicitly leading the audience to consider communal and individual journeys by dancing and talking. In this context, the talking by Nā Lei Hulu I Ka Wēkiu director, Patrick Makuākane in between the dances. I learned a lot about the hula dance tradition and was interested in how Makuākane uses the language of hula to participate in political conversations. For example, Makuākane choreographed The Birth Certificate Hula in 2012 in response to the “controversy” over Obama’s birth certificate. Yes, even hula can be rhetorical.
After Nā Lei Hulu I Ka Wēkiu I walked from the ODC dance commons to the ODC By Way to watch Pohaku. The two companies met in the street and performed a ritual – it seemed fitting. Pohaku, choreographed and danced by Morgan also included talking. Morgan and danced and narrated this dance theater piece that brings “together storytelling, hula, modern dance, classical music, and projection design to explore compelling universal themes in the story of Hawaii’s native people, including land loss and fractured identity.” I didn’t think much about this piece. So I tried to seek out a little more information and watched this short video about the piece. I found much more interesting than the dance itself. I wonder what makes a dance more interesting to watch in the process of making than to watch in performance.
Saturday afternoon the festival included for the first time a set of site-specific dances all over the mission. Titled, “Mission Street Dances,” the audience was led to six different locations to see dances by Smith/Wymore, David Herrera Performance Company, 13th Floor, ODC/Dance, Dance Brigade, and Kim Epifano’s Epiphany Productions. I enjoyed much of what I watched including the streets. The small duets by ODC/Dance dotted the route between the six dances that were mostly staged outside in a park, parking lot, storefront, alley, and side of a building. There was talking, singing, dancing, and more. I really didn’t have a favorite dance, but I did enjoy the afternoon of walking and watching, and I enjoyed seeing dances that I had never seen such as Dance Brigade and 13th Floor. The pulse of the street was felt in both expected and unexpected ways.