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 Now 2019
  • 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 Magnificent Marginal
  • 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
  • newsteps 2019
  • 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
  • Shamel Pitts: Black Velvet
  • 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: Angharad Davies and Amber Sloan
  • 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
  • Vim Vigor: Forever
  • 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

    2018-2019 reviews:


    Heather Olson, reluctant leader in Tere OConnor: Bleed
    Photo by Ian Douglas
    Heather Olson, reluctant leader

    Diverse Tribe

    Tere O'Connor's Bleed fills BAM Fishman Space with 11 humble stars for the 2013 Next Wave Festival


    Let the gush begin; Bleed succeeds throughout.

    Choreography by: Tere O'Connor.
    Dancers: Tess Dworman, devynn emory, Natalie Green, Michael Ingle, Ryan Kelly, Oisín Monaghan, Cynthia Oliver, Heather Olson, Mary Read, Silas Riener, David Thomson.
    Music by: James Baker.
    Sound design by: James Baker.
    Costumes by: Walter Dundervill.
    Lighting design by: Michael O'Connor.
    Cello: Chris Gross.
    Voice: Julia Read.
    Percussion, vocals, other: James Baker.
    BAM Fisher (Fishman Space)
    Dec. 11-14, 2013

    Heather Olson enters with calm concern, alternating birdy urgent movement with sinuous waves and moments of stillness, all to a softly ambient moving-train soundtrack. A shift to simple vocals brings solemn men and women onstage, and the basic elements are set — individual, group, sound.

    Cello music and beautiful, quirky movement sweep subgroups around until Olson gasps and collapses. A pair of women check her before leaving, seeming more concerned with the disruption than the person on the floor. These concerns will flip by the end of the piece.

    Four beautiful boys prance in a sort of swirling procession, to monk-like choral voices that lend a religious order feel. One dips and whips his head and hair. This gives way to a courtly full-group dance, tender and formal, until all as one yell "hoah!" and stamp backwards in a big circle, like a tribe.

    Tribal or religious, the feel of an ancient rite strengthens as a white-haired boy lies on a slab of light in the middle of the group, and hand drums and raindance elements spring up. Then, oddly, all but the boy take a break, strolling and murmuring softly to each other as after a funeral, until they rush back to assume attack poses around him, either threatening him or threatened by him.

    Front L-R: Silas Riener, Michael Ingle, David Thomson<br>
Back L-R: Oisín Monaghan, Cynthia Oliver, Olson in Tere OConnor: Bleed
    Photo by Ian Douglas
    Front L-R: Silas Riener, Michael Ingle, David Thomson
    Back L-R: Oisín Monaghan, Cynthia Oliver, Olson

    If one thing strikes most deeply in Bleed, it is the way eleven widely varying individuals make such a cohesive group. There is no pretense that a group has to look or even act similar to be a healthy whole, and this is refreshing. Shifting partners and forming/dissolving subgoups also feel fluid and natural, and healthy. Tenderness strengthens as people raise fallen comrades and interactions feel care-full.

    At the same time, the power of an individual to sway the group is clear. Olson sweeps her hand and people move like eddies of dust. The white-haired boy (Oisín Monaghan) sings a single, vibrating high note and all seem to hear and listen to his message.

    Formality and serious ritual are prominent, but play slips in to keep things moving. A duet of playful or serious chase picks up people until the whole group is skipping then running. Tongues in cheek or out are either group silliness or a new form of communication.

    And, mapping or matching the tempered restraint and bursts of energy of the performers is James Baker's music, simple but rich. It shapes and follows the arc of the piece well. Excited X-jumps get clangy energy; silence gives soft partnerings room. Elements of movement and music leave and return in shifting pairings.

    Elements like the lighted slab and "hoah!" reappear briefly toward the end and wonderfully percussive instruments bring the tribe together. In an understated climax, bursts of driving beat, that unstopped could create a dance party, alternate with aural softness; the combination encapsulates the tender-tough quality of Bleed and sets up an ending of all holding hands in a snaking, silent group, "oh" mouths looking to the heavens as soft choral voices usher in the darkness.

    When the lights come up, it seems that Tere O'Connor achieves his Choreographer's Note goals, a rare achievement both for putting choreographic thinking on paper clearly and for creating the dance that illustrates that thinking. Roughly paraphrased: as ripples on still water stay distinct but also merge with others so quickly that we forget the origin of any, each piece of Bleed passes and disappears yet remains part of the whole. "Simultaneously remembering and forgetting [three] previous dances" to build this culminating piece is O'Connor's deft description of his process, but without seeing the previous three, Bleed makes sense on its own.

    DECEMBER 16, 2013

    Post a comment on "Tere OConnor: Bleed"