Dance Review: New Moves Contemporary Dance Festival, Program B

Modern dance devotees flooded The Kelly-Strayhorn Theater over the weekend for the 4th annual newMoves Contemporary Dance Festival. The three day long celebration brought sixteen choreographers and over 40 dancers to the bustling East Liberty sprawl.

Program B took place on Friday, and hosted a range of national and international performers and companies from Pittsburgh, NYC, Philadelphia and, for the first time, Budapest, Hungary.

The evening felt significantly more bold than in previous years, with work that ranged from technical to theatrical and in some cases, an impressive blend of both. Each piece fit into the festival’s unexpected theme of “identity.” Exploration of one’s individuality seemed fresh on the minds of the young dancers and choreographers involved.

The show opened with the August Wilson Center Dance Ensemble from right here in Pittsburgh. The company performed “TORQUE,” choreographed by Point Park professor, Kiesha Lalama.

To the sounds of traditional Irish and West African rhythms infused with electronic beats, the piece investigated how we try to escape the “daily grind.” Through a combination of slow, snaky undulations, and quick, fierce gestures, the company once again displayed their physical prowess. The tight unison of their movement proved the likeness of each dancer, despite their physical differences.

From Philadelphia came IdiosynCrazy Productions and Anonymous Bodies, two different duets that shared an edgy dance theater style.

IdiosynCrazy explored the theme of “sameness” in their work, “Plastic City.” The duo wondered how they might appear more similar despite their different anatomies, skin colors and movement habits. They succeeded in their quirky but seamless floor work and the unpredictable humor interspersed.

Anonymous Bodies presented a piece that used mostly dramatic elements to communicate their themes – a static TV screen, laptop computer, American flags and silver wigs that concealed the two dancers’ faces. They examined “theories of identity” with repetitive and often pedestrian movement mingled with moments of striking stillness.

Marjani Forte, of NYC, performed a solo about self-acceptance entitled “EGO.” Through the study of fear, change, growth and insecurity, Forte unearthed a wide range of movement dynamics, presenting herself as complex yet well-rounded and able to accept herself fully.

All the way from Hungary, in their first U.S. tour, Bloom! Dance Collective closed the show with their award winning full length dance, “CITY.” The company described the piece as a “political pamphlet entwined with movement,” and dealt with issues of belonging versus discrimination in urban life.

In light of the recent and frustrating immigration debates, the company managed to present the topic with hilarious mockery that had the audience doubled over with laughter. Perhaps it was the full frontal nudity right from the start. Body parts flipped and flopped as the dancers stood confidently front and center, bouncing to circus music that set the stage for satire.

The piece did take a more serious tone at times, revealing the intelligence of the choreographers. A robotic voice, similar to an automated and unwanted telemarketer, repeatedly shamed one dancer who only wanted to be part of the group. The voice taunted – “Nobody wants you here,” “Put your clothes on,” and “You look like a criminal.” Although the work was largely theatrical, the movement quality was sweeping, with an ebb and flow that not only carried the piece, but held it together in a clean and clear way.

The success of the closing dance in particular raised the standard for newMoves, and brought attention to what will continue to “bloom” for the festival’s future.

Filed under: Adrienne Totino, Prose, Reviews: Performing Arts