Dance Review: Paradigm, A Model for Dance

Paradigm, A Model For

Dance

One definition of paradigm is “one that serves as a pattern or model.” There is no doubt that Paradigm exemplifies the proof of the model of performance that us dancers strive for everyday . . . to embody and become an idea and expression of an experience.

The performance at DTW begins with A Thin Frost, an intriguing opener choreographed by Gus Solomans, Jr. Danced without music, the lights honed in on three gorgeous women, Carmen deLavallade, Valda Setterfield, and Karen Brown, sitting in chairs. Before the dancers even move, I can already sense from about eight rows back the model that the word paradigm represents. Two words: professionalism and grace. The women, wearing all white, very modest, pants and long sleeve shirts, perform movement that is accompanied by vocal expression. They kick a leg and shout, they stomp the floor and moan, and point to each other and laugh. I am quite entertained as these exquisite women tell a story that seems to be about how they relate to each other. At certain points, they stand up and walk around the chairs and even seem to get mad at each other.

Following A Thin Frost is a monologue called “Being” written by Kay Cummings with movement and performance by Gus Solomans, Jr. In Solomans solo, he speaks of his experience being a man of color and discusses the different terms for people of different races, as well as his experience as only a man, and how he wishes for people to see him simply as a person without all of the other filters. Refreshingly, being that Solomons is a master performer and has the confidence to perform in a profession that celebrates the expertise of dancers with not even half his experience, it’s great to see Solomans move. Because I can see his movement that was once there (not in a negative, but a positive sense), it is very interesting to watch him reinterpret movement with his body now after having once mastered it before.

Player and Prayer, choreographed by Jonah Bokaer, comes next on the program. A piece with a futuristic tone, deLavallade, Setterfield, and Solomans, dance a trio in what looked like the smart blue uniforms from an episode of Star Trek. The costumes, done by Oana Botez-Ban and Nancy L Johnson, are very stylish and appropriate. The trio move with I-pods on their arms as the speaker blasts recorded interviews of the performers talking about their favorite moments and memories as a dancer. The movement is very robotic and at times, the dancers stop to pose connected to each other and weave in and out of each other’s bodies as if they are one.

After intermission, It All, choreographed by Dwight Rhoden with music by Bjork brings me alive as Michael Blake and Karen Brown dance a duet based around two throne-like chairs which seem like a king and queen telling their story of dealing with each other and the hardships of their situation. Michael Blacke works the choreography out! He has such power in his movement.

Next comes Lamps which is a solo work performed by Carmen deLavallade. I love the theme of this piece, the monologue with movement, and exceptional lighting. DeLavallade tells the story of her fascination with light, and, much of her commentary makes me think about the beauty of light and how it is only appreciated when there are moments of its absence. She looks striking in a long brown dress with brown sleeves and watching her makes me smile.

The show ends with a piece by Donald Byrd called Dioscuri #2. It is a dynamic solo where Solomans seems to be the teacher or father of Blake. For the whole first half, the two dance on separate sides of the stage not once coming together creating a beautiful contrast in movement. Blake is once again powerful and Solomans is wise with his movement. They come together for the second half and dance together as Blake expresses a need to get something from Solomans but is repeatedly ignored and pushed away only to finally receive direction from Solomans.

This performance makes me think to myself, “this is what dancers aren’t learning anymore” and I find myself getting mad at all of the fresh dancers, who look at you like you are crazy when you go take a dance class as if you don’t belong simply because they are so used to getting excited when someone sweats them because of their 180 degree penche or “fierce” feet. Although we all know that 'how high your feet look arched' won’t get you on your leg or make an audience want to watch you for an hour, (but that’s another discussion), there is something to be said for a dancer’s artistry that only comes with true passion for the craft and experience from the work. So, for Paradigm, although the pieces were filled with neither technical tricks nor choreography considered groundbreaking, these dancers exemplify dance that no scholarship or even your “daddy’s money” can buy (yeah I said it).

IDANZ Critix Corner
Official Dance Review by JoiLynn
Performance: Paradigm
Venue: Dance Theater Workshop
Date: Monday, July 13, 2009
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