offoffoff dance



Site links
  • Contact us

    Get our newsletter:
    Search the site:

    Dance section
  • Dance main page
  • Dance archive

    Current dance

  • 277DanceProject: This is Heaven to Me
  • A.W.A.R.D. Stars
  • Aaron McGloin: Lamina
  • Aaron McGloin: Native
  • Akiko Furukawa: Room 702
  • Alley of the Dolls [this is not a Sequel]
  • Anchors and Ties
  • Antonio Ramos: Almodovar Dystopia
  • Aretha Aoki and Benjamin Kimitch
  • BAADass Women Festival
  • Banana Peel Dance: Dinner Party
  • The Barnard Project 2010
  • Batsheva: Hora
  • Belinda McGuire
  • Bennyroyce Royon: Chronos Project
  • Bloom: City
  • Body Collider: Bare Knuckle High Fashion
  • Brian Brooks
  • Brian Brooks Moving Company 2012
  • Bryn Cohn: Skin
  • Burr Johnson
  • Chavasse Dance and Performance
  • Chris Schlichting: Stripetease
  • ChristinaNoel and the Creature
  • Chunky Move: Faker
  • Chunky Move: Mortal Engine
  • Cool NY 2011
  • Cool NY 2012
  • Current Sessions: 03Savings
  • The Current Sessions: Volume 1
  • Da-on Dance: Thirst
  • Dance Apocalypse: Solos
  • Dance Gallery 2013
  • Dance Gallery 2015
  • Dance Gallery Festival
  • Dance Gallery Festival 2012
  • Dance Now 2015
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • DanceNow 2017
  • DanceNow 2018
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley: Sure
  • DorothyAnnieMaria
  • Doug Varone and Dancers 2017
  • Dumbo Dance 2010
  • Dumbo Dance 2011
  • Dumbo Dance Festival 2012
  • Faye Driscoll: Thank You for Coming
  • Faye Driscoll: There is so much mad in me
  • Faye Driscoll: You r Me
  • Festival Twenty Ten
  • Festival Twenty Ten Too
  • FLICfest 2012
  • FLICfest 2013
  • Fresh Tracks 2010
  • Fresh Tracks 2011
  • Gallim: Sit, Kneel, Stand
  • Gerald Casel: Fluster and Plot
  • Gotham Dance Sampler 1
  • Green Space:
    Take Root

  • Gwen Gussman: Nourishment
  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong:
  • Jody Oberfelder: The Soldier's Tale
  • John Jasperse: Canyon
  • Jonah Bokaer: Rules of the Game
  • Jonathan Pratt
  • Julian Barnett: Sound Memory
  • Julie Bour: Why Now?
  • Katie Workum: Black Lakes
  • Katie Workum: Fruitlands
  • Katie Workum: Herkimer Diamonds
  • Katy Orthwein and Aaron McGloin
  • Keigwin and Wolcott: Places Please
  • Keigwin+Company 2012
  • kerPlunk and Friends
  • Kidd Pivot: Dark Matters
  • Kota Yamazaki: Rays of Space
  • Kyle Abraham: Heartbreaks and Homies
  • Larry Keigwin: Exit
  • Lincoln Center Kenan Fellows
  • lmno3:BANGS
  • Lucy Guerin: Structure and Sadness
  • Lucy Guerin: Untrained
  • Magda and Chelsea: The Vulgar Early Works
  • Mari Meade and Companies
  • Mari Meade and Gierre Godley
  • Mari Meade and Teresa Fellion
  • Mari Meade: Not My Home
  • Mark Dendy: Labyrinth
  • Mark Dendy: NYny Astor Place
  • martha clarke: angel reapers
  • Martha Graham Company 2016
  • The Median Movement: JACK Rally
  • The Median Movement: X
  • Mei Yamanaka Works: Sunflower
  • Merce Cunningham
  • Miguel Gutierrez: And lose the name of action
  • Mina Nishimura
  • MokdessiWagner and Kawamura
  • Nathan Trice: Recognizing Women Project
  • Neta Dance: 2280 Pints!
  • newsteps 2013
  • newsteps 2014
  • Newsteps 2017
  • Newsteps 2018
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Only Human: Christine Bonansea
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Perforations Festival
  • Performance Mix 2013
  • Performance Mix 2017
  • Performance Mix Festival 2010
  • Performance Mix Festival 2018
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • The Principles of Uncertainty
  • Project RUIN
  • Purchase Company 2013
  • Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
  • Raw Directions 2012
  • Raw Directions 2013
  • Relative Soul: Two Takes
  • Richard Move: Martha 1963
  • RoseAnne Spradlin: beginning of something
  • Sam Kim: Sister to a Fiend
  • Sarah Skaggs Dance: The New Ecstatic
  • Sarah Skaggs: Roving 911 Memorial
  • Shannon Gillen & Guests: Clap for the Wolfman
  • Shannon Gillen: A Colored Image of the Sun
  • Shen Wei Dance Arts
  • small apple co.
  • Splice: Japan
  • Stephen Petronio 2014
  • Stephen Petronio 2015
  • Stephen Petronio 2016
  • Stephen Petronio: LLD 430
  • Strange Love: Episode 5
  • Take Dance
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • TheCraft
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Tiffany Mills: The Blue Room
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Walter Dundervill: Candy Mountain
  • Wave Rising 2011
  • William Forsythe at BAM
  • William Forsythe: Decreation
  • Women in Motion 2012
  • Wrought Iron Fog
  • Yoshiko Chuma and Rebecca Lazier
  • Zvidance: Dabke+Coupling
  • ZviDance: Zoom


    Complete archive, 1999-present

    2017-2018 reviews:


    Rara Avis

    Extension and connection

    Rara Avis meets Loophole in an evening of integrated dance and music improvisation.


    On September 14th, 2004, three composers and three choreographers, billed as the Rara Avis meets Loophole sextet, performed at Roulette at Location One, a loft/ performance gallery on Greene St. This was one of those rare occasions where the formality of performance takes second place to an exploratory nature of the medium, and in this case, how two mediums (music and dance) dialogue through improvisation. The hour-long journey synthesized beautiful moments of serendipitous timing with the ordinary struggles of an overload of movement that never materializes into a cohesive creation. I was most struck by the ensembles bold choice to create an improvised performance with only one limitation; the music and dance exist together in space.

    Dancers: Corrina Kalisz, Alison Robinson, Estelle Woodward, Jeff Arnal , Gordon Beeferman, Seth Misterka..
    Location One
    26 Greene St. (btw. Grand and Canal)
    Sept. 14, 2004

    Despite a few moments of contact in the evening, an overarching movement theme for the choreographers became reaching out into space to find no end. Each individual remained steadfast to their personal agenda despite the proximal reality of the women's nearness in space, creating an absence of emotional or thematic material during the first half of the performance. The movements were motivated by pure personal desire, often based on distal initiations that projected long limbs through clear lines in space. This architectural and abstract orientation provided a wealth of interesting movement generation, but I yearned for more group connection and interaction. A little less than half way through the performance seemed the true beginning, when moments of collision between performers began to reorient their pathway.

    The beginning of a task oriented rhythmic section of falls to the floor established the first immediate association between the dancers and the musicians. As the performers pooled focus through a heightened awareness in rhythm, a unified clarity was established. Rhythm created variation and dimension to time sequences through fractioning, overlapping and stillness choices, crossing the improvisation into performance. The relief and organization of this section after the saturation of movements offered to find no reciprocal connection, established a common goal that began to bring the performers together. The rhythmic impulses evolved into series of spatial walking scores traveling in singular directions, layering the key elements of time and space into the work.

    Rhythm created variation and dimension to time sequences through fractioning, overlapping and stillness choices, crossing the improvisation into performance.  

    The richest part of the evening for me was Corrina Kalisz's acknowledgement of the voyeur like nature of this performance situation. While the intimacy of the space forced proximity of audience member to performer, I hoped for recognition of audience presence. Little eye contact had been made until Corrina's brilliant choice to stand at a column at the front of the performance space and sway back and forth focusing around the circumference of the room. Before this moment, I wondered if the "heightened" state of awareness, a major tenant of improvisation, actually retreated each performer into their own head space, focusing their attention inward cerebrally and consequently losing an outward sense of audience and performance. The esoteric "waiting to find the connection" suffered from a hesitation and caution when entering ideas and this daring choice of Corrina's opened up a new dimension. Her precision of movement, fullness of presence and clear attention to focus captivated my attention throughout the evening and especially at this moment when the prolific third wall was broken.

    Estelle Woodward captured this foreboding sense of voyeurism to create a compelling contortionist floor solo that manipulated articulate movements in new, exciting configurations. Her long-limbed, distal extensions reached beyond her physical body, opening up the space by sending energy beyond her literal body, creating a tension that filled the room. This tension invited interaction from the other performers and Alison Robinson's keen awareness of movement motifs met up with Woodward on many occasions in the evening to craft striking duets.

    Jeff Arnal (percission), Gordon Beeferman (electric piano) and Seth Misterka (alto saxophone), created rich, unified, and compelling musical scores. While the musicianship of the improvisers oozed with prowess, eloquently designing intriguing improvised pieces, these sophisticated collaborators remained safe while linking mediums together. Sometimes the music seemed to dictate the movement and other times the movement dominated the music, switching leader and follower in a traditional fashion. The pulse rarely existed simultaneously but the intent focus between the musicians and choreographers created a palatable and cohesive exchange.

    The artist's commitment to one another fostered a supportive and investigative environment for experimentation of original ideas. I am eager to follow the development of these highly skilled artists exploring a medium so rich and full of possibility.

    SEPTEMBER 23, 2004

    Post a comment on "Rara Avis"