Dance Review: On Being by Staycee Pearl Dance Project

Reviewed by Adrienne Totino

Staycee Pearl’s latest evening length work, “…on being…” began as an exploration of post-blackness in America, a concept even Pearl had trouble defining because of its broad meaning.

She and her company spent months researching black art, music, literature, dance and more. While they gained insight and inspiration, none of them could come up with a singular definition of black culture in the 21st century. As one dancer, Mariana Batista, said, “I have many more questions now than when we started.”

In modern dance, there certainly isn’t a clear characterization of black movement. Established African-American choreographers of today have their own signature styles, from Camille A. Brown’s rhythm to Kyle Abraham’s intricacy, to Sidra Bell’s theatricality.

Pearl’s choices usually bring a mix of past and present. Within a phrase of her movement, one may see a big, technical leap reminiscent of her time at the Alvin Ailey school. And in the next second, her dancers may sink to the floor with the release styles more prevalent today.

“…on being…” suited the cast, all of whom excel at multiple genres. But what they brought to the stage in terms of self-exploration was even more exciting. Her dancers realized they could not define themselves by their race, when so much factored into their artistic experience. Gender played a role in their work, as did sexuality.

The result was a non-narrative piece focused on the individuality of the dancers. Although the five of them come from varying life experiences, they were strong as a unit. Perhaps that was the point. “We are all very round, whole people,” Jessica Marino wisely noted.

Herman Pearl, Staycee’s husband and collaborator, mixed music that ranged from recognizable soul to hypnotic waves of atmospheric sound. Each dancer had plenty of solo moments wrapped around duets, trios and a few sections featuring all five of them.

One particularly memorable duet was between Seth Grier and Ethan Gwynn. To a spliced version of “Natural Woman,” the two moved simplistically, allowing the audience to ponder notions of sexuality and gender without hitting us over the head with any overt message.

The quiet and lovely Jasmine Hearn also had some beautiful moments, many quite theatrical. She seemed to step outside her comfort zone, showing growth in her performance ability.

Jessica Marino and Mariana Batista were equally breathtaking, most notably in a duet of unique floor phrasing.

The most interesting part of the evening came when Internet persona, Hennessy Youngman, talked (via video footage) about how to be a “successful black artist.” He sarcastically instructed his audience to fall back on slavery as something white people are likely interested in. His humor was a reminder of cultural stereotypes still present in our day and age.

Pearl’s piece worked because there was no direct message. The choreography explored themes that she couldn’t, and may never, define. Because she was comfortable with that, the audience was, too.


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