The auditorium grew silent all of a sudden. I’m not sure what triggers this. How do people know to stop talking? Well, there was an older lady behind me who didn’t get the cue, and she continued her conversation for all to hear. The stage was mostly black, with an almost blinding white light filling the space. Then the four male dancers appeared. They danced in tandem, then independently, all in the presence of silence. It was the kind of silence that makes you keenly aware of your fingers making noise against the plastic glass and what seems now to be excessive movements.
The performance is Anne Teresa de Keersmaeker/Rosas’s “A Love Supreme”, an interpretive dance of John Coltrane’s A Love Supreme. The next part is very explosive when the music starts; very familiar music. I was trying to figure out if the music was driving me or if the dance was complimenting it. I believe they were complimenting each other, as if DeKeersmaker and Rosa were paying homage to one of our jazz greats. I’m not all that familiar with Rosa, but DeKeersmaker has been around the block. Her choreography puts me through so many emotions. There are quite a few of her pieces that rely on long lapses of time where the dancer doesn’t even move. There can be long pauses when nothing really happens. Her performances make me pause, make me angry, and sometimes relieved. I liken it to having to sit through a lengthy Lutheran church sermon, as if I’m glad that I got through it.
I really liked this piece. It appeared that, much like improvisational jazz, each dancer played a part. Each dancer mimicked an instrument in his movements. There was the bass, the drums, the piano, and the lead dancer played the saxophone. The modern movement was a sudden move in the opposite direction, moving with the beat. I like the fact that DeKeersmaker’s choreography is challenging. It’s not meant to entertain, but to be experienced.