Sunday’s Fall for Fall Dance efficiency at Uptown Atlanta — the third and remaining night of this yr’s pageant — drew attendees into an expansive atrium with hovering ceilings, corporate-adjacent gathering areas and intentional informality.
Settling into a day of 14 works delivered by impartial choreographers with radical variations in aesthetics and expertise was a problem. This range was true of the viewers too, uniting severe dance goers with others who laughed at something that will have been unfamiliar.
This system introduced up a number of questions: Who is that this expertise for? Can youthful artists and new dance-makers develop from the sort of publicity? Does the “acquainted” additional alienate aficionados? Does “on the market” work alienate these already tentative about seeing dance?
Amidst highs and lows, two solos have been examples of considerate choreography for the self, with every soloist delivering a efficiency that created intimacy throughout the vastness of the area.
Angelita Itzanami’s work was primarily based on her longing to stretch time. Her instinct and virtually unfathomable emotional vary drew us deep into her psyche whereas she actually stretched her bodily limits, reaching in opposing instructions, pulling herself aside. This brave and sparse work relied on the futile need to endlessly maintain onto — what? Love? A member of the family? A reminiscence? This quiet desperation was unsettling and mesmerizing.
Masterful craftsmanship paired with intriguing supply belonged to Emma Morris. Bolstered by witty, dramatic lip-synching and punctiliously layered sound, Morris took us into the tumult of frenetic ideas and reminiscences, weaving a narrative that was uniquely private.
Morris’ energy on stage revealed itself in easy extensions of a leg that might mild onto a fourth place stance, then collapse your entire physique to the ground with delicacy and precision.
Multimedia artist-turned-dancer Jacqui Hinkson made her choreographic debut with a piece that embraced provocative and stunning moments. Inside-soil: TILL/HARVEST was a mild voyage that averted conventional choreographic logic with spellbinding moments of breathy assault and unseemly weight sharing.
Profectus Dance introduced an excerpt by Melinda Jacques that grappled with crossing over into new beginnings — on this case, dying. The work discovered its pulse when dancers interacted with a shallow, diagonal line, positioned downstage proper. There, they taunted the road, virtually daring each other to cross over. Previous to this, the work embraced conventional vocabulary, peering, virtually longingly, into one thing akin to obligatory motion. For this reviewer, the dancers’ pained facial expressions and mime-like actions shortchanged the impulse to any deeper motion investigation.
The afternoon was a conveyor belt of eclectic Atlanta dance. From TaShiBaDance’s West African impressed presentation to the moody Storage by New York choreographer Jordan Ryder (additionally seen on Friday), Fall for Fall Dance is grounded by the beneficiant and entrepreneurial spirit of its founder and rising choreographer, Catherine Messina.
She carried out a duet co-created with Meg Gourley, aptly titled We Let our Hair Down. It was a mirrored image of the daring, cosmic vitality that drives Messina. By way of wit, partaking vocabulary and a devil-may-care perspective, the duet, just like the afternoon, did one thing many are sometimes afraid to do: let go of pretension, ship levity and push the boulder of dance advocacy up a really steep hill.
Born in Tehran, Iran, George Staib is of Armenian descent. He has lived in america for the reason that age of 10, when his household was compelled to flee the Iranian Revolution. He’s the inventive director of staibdance and a professor of observe within the dance program at Emory College.