I spent a portion of last Saturday at Chicago’s Museum of Contemporary Art watching the amazing choreographers and dancers of Chicago Dancemakers Forum show off their stuff. The work was so beautiful and intriguing, I was so disinclined to leave despite my busy schedule.
I arrived beginning with a dance-monologue by Peter Carpenter of Peter Carpenter Performance Project. By combining pre-recorded voice-overs, direct communication with the audience, and descriptive movement, Mr. Carpenter took us through his train of thought as he created a dance. It begins will drama, it continues with the shifting of body weight, the motivation of movement, and it ends ambiguously. I mean by this, if the lights had not gone down to indicate the end of his piece, I honestly believe he could perpetually tell us about his relationship between movement and communication.
A second piece I witnessed (among many others, but I’m trying to keep this brief) was a bizarre dance by Adam Rose of Antibody Corporation titled Moros. Moros, apparently, is the descendant of Nix, the Greek goddess of doom. Rose was a terrifying and kinetic dancer, wearing nothing but camouflage cargo shorts and using spotlight to his advantage. Twitches, maniac smiles, tensely opening and closing fingers – he seemed possessed, an embodiment of unstable and horrible energy. I was fascinated and scared out of my wits simultaneously. The end to his piece was especially provoking: he slowly made his way to the edge of the stage, and then timed precisely with the spotlight being turned off, he gracefully dropped from the stage directly in front of audience members. A quick intake of breath was jointly made by all the viewers, and I bet we were all feeling the same shivers up our spines.