as occurred, as recalled

When the two choreographers from Whyteberg, Gracie Whyte and Lauren Berg, taught a choreography class a few weeks ago, I was instantly fascinated with their style of improvisation, a blend of modern and contemporary with elements of hip hop. They explained their company’s belief in interactive dance; their goal is to create shows that cannot be viewed on YouTube, only experienced in person. That night, I bought two tickets to their upcoming show, as occurred, as recalled, the first dance tickets I have ever purchased with my own money. A friend from my dorm went with me, and she provided an interesting perspective because she is not a dancer.

The show took place on the streets of Chinatown, alternating between an indoor black box theatre and the lantern-studded courtyard outside. Four dancers tackled a theme of oddities and addictions in society, ranging from violence to sexuality to drugs and alcohol. Strange movements punctuated the dancers’ solos and duets, ending with a sense of calm and peace. The message of the show seemed to be advocating moderation, simply letting things go, rather than holding on to the unhealthy aspects of life. Once let go, space opens up for new opportunities and moments of spontaneity in life and in dance.

Throughout the show, I consistently felt as if part of the scene was missing. One dancer fought an invisible opponent in a boxing arena, while another played chess with only one set of pieces. All four dancers performed solos that played with positive and negative space, seeming to dance with a partner that was not present. Rather than feeling incomplete, these scenes drew the audience members into the show, encouraging an involved and intimate environment. Due to the constrains of the small black box theatre, tickets were limited to 25 people per show, and the dancers included the audience members to complete the missing pieces of the show. Rather than passively watching the occurring events, we felt involved in the movement and the events of the show.

Developing the intimate relationship between the dancers and audience members, the show involved all of the senses. Usually, dance appeals to sight, and the elements of physicality and lighting present in other shows were clearly evident in this show. Because parts of the choreography took us outside the theatre, pedestrians would often walk through the scene of the dancers, creating interesting elements of digression and prompting some spontaneous choreography to mediate the passing people. The music ranged from Bach to house music to indie, cultivating the environments of the different scenes throughout the show. Although unusual, the satisfaction of sight and sound were not the elements that differentiated this performance from others.

Offering tea sandwiches, cupcakes, and alcohol for the of-age audience members brought in the sense of taste, an element not usually explored in traditional performances. Furthermore, the different environments, both indoor and outdoor, involved the sense of smell. One dancer lit a cigarette a few times throughout the show, staunchly marking the air with the smell of smoke. The dancers frequently included the audience, both through choreographic motions and physical touch, leading us throughout the performance. This interaction was particularly powerful because we never sat down in a designated seat, so their guidance allowed us to feel as if we belonged in the choreography. Toward the end, the dancers brought audience members into the theatre to dance together, spreading confetti over our heads to cement the physical sense of touch.

Collaboration in dance always fascinates me; I especially love the use of multiple mediums of art. as occurred, as recalled presented a new sense of collaboration through its use of the senses and audience involvement. In dance and in life, I often find myself craving spontaneity, but it is so easy to give into familiarity. This show was completely spontaneous, a Monday night excursion that was unlike anything I have ever done or seen before.