That’s precisely what Boston-based Continuum Dance Challenge did with Fernadina Chan and Adriane Brayton’s Not Eye, Us – and the consequence spoke to one thing profound within the human story and human expertise. It dove deep into the strain between the person and the collective, and that the previous wants the latter to thrive. The work’s aesthetic cohesion additionally gave it the potential to be memorable even with out notion of such which means. The corporate created the work by means of the Boston Dancemakers Residency on the Boston Heart for the Arts. 

The work started with the cue of a knock on a pair of closed doorways. Brayton then opened the door and allowed viewers members into the efficiency area. There, we noticed a solitary dancer going through a big sculpture (by Michael Alfano). It seemed to be made from a number of giant blocks, all in varied pores and skin tones and collectively making up a face. Just like the mythological Janus, it had a face in back and front – but on this design, one face was inverted (chin above nostril). 

This sculpture actually introduced one thing summary and mysterious to the area, an environment to which the low, repetitive tones within the rating contributed. That one dancer began to slowly transfer – intentional, absorbed in every kinetic nuance – till she rose to her toes. 

Viewers members had been gathered round, providing potential for true immersion within the motion to return – and, starting to place that potential to fruition, ensemble members guided these within the viewers to kind a crowd across the sculpture. Sporting easy flesh-toned leotards and easy slacks (costume design by Soyoung L Kim), they weaved by means of and round this crowd. 

Extra ensemble members entered, and commenced transferring across the sculpture, even touching it – infusing a way of exploration. I felt my curiosity peak; I needed to the touch the sculpture, too, to really feel its texture. Earlier than I may take into consideration that an excessive amount of, the dancers started to deconstruct the sculpture — block by block, carrying every with objective and care. Their gradual pace was putting, even refreshing, in at present’s world. 

They then assembled the items right into a circle, and the highlight fell on just a few memorable sections of sooner and extra dynamic motion. The work took its time to construct that pace, measurement and depth, and that’s to the great. No have to rush to something; there’s sufficient of that on this world, I assumed. 

The sculpture items additionally performed their half, changing into like dance companions: the performers moved on, over, and round them, typically permitting them to assist weight and at different occasions totally supporting their personal weight. It was by no means virtuosity for virtuosity’s sake, however to construct environment and to share the great thing about the transferring physique – and by no means in a method that felt rushed or compelled.

They tried on completely different prospects with the sculpture items along with the rating – changing into playful with the joyful trills of a flute at one level. With these prospects taking part in out, varied conditions had been evolving inside a neighborhood, in their very own flip – every with their very own tone and environment. I assumed again to the face of the sculpture with the assorted pores and skin tones — the numerous making up an entire. 

In a memorable duet midway by means of, Lonnie Stanton and Adriane Brayton got here collectively and aside in area, hardened and softened to one another’s weight. They created a sense of connection between them, but a tense one. What’s desired also can repel – a relatable expertise for a lot of within the viewers, I daresay. A following part had two different dancers becoming a member of them, overlaying their eyes at occasions and at others trying proper as much as the sunshine, to the heavens. Typically we search to see, to grasp and at different factors, we merely can’t. 

Whereas they had been gliding clockwise collectively, in a circle round just a few of these sculpture items, I additionally mirrored on the timeless human expertise of being joined collectively in motion – whether or not or not it’s in “dancing” as we would outline it or in another goal. The circle goes deep in human historical past — as an emulation of the star in our sky, and a want for success within the mild that brings security and all sustenance. 

With about quarter-hour left, with pace and depth at (least near) a climax, the ensemble started reconstructing the sculpture. Mild arose (lighting design and technical course from Anne Dresbach) on a soloist, Sarah Pacheco, as if the solar had arisen and she or he was the primary to indulge in its glow. But, similar to how the solar rises and units, night time results in a brand new day, the dancers started deconstruct the sculpture to assemble one other circle. Cycles proceed. 

Sure viewers members would interact on this cycle, as nicely. An ensemble member led one viewers member to face on one of many blocks (which, as a great sport, this particular person appeared to welcome). The ensemble concurrently made a circle of chairs during which different viewers members may sit. Within the circle of humanity, for higher or worse, none of us ever actually will get to be completely passive. 

The ensemble glided across the circle once more because the lights got here down to finish the work. The human story, during which we wake to the golden ball of fireside within the sky and do our greatest as people dancing in continuity with different people, endures. That there may have been a fantastic ending, however lights got here up on some viewers members sitting within the circle on high of the sculpture items – with ensemble members guiding them in easy, but richly textured motion. 

Ensemble members arose from their seats to hitch sure viewers members in constructing one other little sculpture, a mini duplicate of the unique bigger sculpture, on a stool within the middle. Collectively, we construct this assortment that’s humanity. The motion right here felt like two separate endings, each beneficial in context with the themes that the work constructed. That second ending additionally managed to discover a contemporary tackle the widespread “full circle ending”, which may be highly effective but in addition really feel overdone. 

The work general was equally creative and contemporary, but in addition grounded in one thing a lot older and extra elemental within the human story. Whichever “eye” by means of which we see, it’s “us” and never “I” ultimately. Nobody can exist in whole isolation, a minimum of not their fullest lives for very lengthy. By cogently calling upon visible artwork along with motion, and lots of extra considerate artistic selections and parts, Continuum Dance Challenge supplied a poignant reminder of those primary, but resonant truths. We go ahead, many “I”s collectively as one “us”. 

By Kathryn Boland of Dance Informa.