|
|
|
|
EDGEWORKS Dance Theater 'Snapshots,' 'Caution,' 'Cold Case' and 'Trigger'
March 13, 2010 -- Dance Place, Washington, DC EDGEWORKS Dance Theater (“EDT”), a contemporary dance company based in Washington, DC, is composed of all males, predominantly African-Americans. EDT is led by founder and Artistic Director Helanius J. Wilkins, a beloved dance instructor. EDT has won numerous Metro DC Dance Awards and has performed at venues across the U.S., including Jacob’s Pillow Dance Festival, and also internationally. The company’s repertoire consists of pieces that aim to dismantle stereotypes. Next season will mark EDT’s tenth anniversary. In its recent performance at DC’s Dance Place, the all-male company presented both old and new works. First up was a 2009 piece called “Snapshots,” which featured various photo-like flashes designed by Cheles Rhynes, from strobe lights to glowing geometric pools on the floor. Dancers appeared, standing in squares of light, wearing colored knee pads. The knee pads proved practical, as the dancers frequently rolled onto their knees and slid over the stage. Wilkins, who did all the choreography and direction for the evening, took an early solo turn in “Snapshots.” He stretched his arms in front of him, and his legs moved up and down in a loose form of climbing. As he danced in the strobe light, viewers saw his muscular body move like a character in a flip book. His motions were slow, and sometimes sudden, like those of a man walking in a choppy black and white film. What I appreciated most about “Snapshots” was the way the dancers truly luxuriated in the choreography. In a sparring duet, two men pulled and leaned into each other, creating lovely tension. In a different section, one of the dancers jiggled his legs like Jell-O. His wobbly limbs were positively fueled with emotion. I assume there was a narrative thread running through “Snapshots,” although it was difficult to discern. The work, unfortunately, lost some steam as it went along, and it seemed overly long. Next on the program was “Caution,” a 2008 short film by Susannah Newman. The film weaves together parts of Wilkins’ 2006 work “Cold Case” with close-ups of Wilkins dancing alone against a wall. The physical isolation of Wilkins in the film surely symbolizes the isolation of African-American men, generally, in society. Following “Caution,” EDT performed excerpts from “Cold Case.” The letter from an imprisoned father to his son that is read in the film “Caution” forms the accompaniment to the first section of “Cold Case,” called “The Letter.” The message is that due to racial stereotyping black men in America are both feared (associated with crimes like robbery and rape) and revered (glorified as music and sports stars). Although “Cold Case” is peppered with powerful text written by Wilkins, the dancing is also strong. The men groove and shake their hips, but, in addition, they show through their movement the weight they carry in their hearts from being constantly identified as “public enemy number one.” The final work of the evening was EDT’s current work in progress, “Trigger.” Dancers in street clothes meandered across the stage, creating a pedestrian scene. Wilkins played the role of a homeless man. He wandered about in a trench coat, which covered his tattered clothing, and he also carried a suitcase, toting his most precious belongings (for example, a bottle of water and an orange). Dancers, rather mysteriously and confusingly, spoke single words aloud like “time” or “suitcase.” In contrast to the darkness of the opening of “Trigger,” in a charming solo section, Nkosinathi “Natty” Mncube, a native of South Africa, sat in a folding chair with a hoodie pulled over his head. To original music with a strong beat by composer Sven Abow, Mncube’s arms and legs playfully darted out from the chair. Wilkins explained in a conversation with audience members after the performance that “Trigger” involves an exploration of different types of gangsters. Professional businessmen, in a broad sense, could be gangsters, it was pointed out, and not all gangsters are necessarily bad. A gangster might simply be someone who has a particular set of survival skills he exploits in struggling to achieve success. Wilkins also intends to explore the influence of music, especially hip hop culture, in “Trigger.” Wilkins said that he uses a very collaborative process is making new works, including holding community discussion groups, conducting workshops, and soliciting audience feedback. Furthermore, he asks his dancers to engage in writing exercises in order to find their own unique voices in the work. The final product of “Trigger,” according to Wilkins, will be a choreographed play. It’s a joy to watch a company of men like EDT perform, and credit must be given to Wilkins, under whose masterful direction the dancers continue to give polished, professional performances that genuinely connect with audiences. Wilkins’ choreography boldly attacks social issues, like racism, but despite his focus on such issues, his works are not one-dimensional by any means. Nor do the messages he effectively conveys through his choreography feel like lectures, although much information is gained. The dancing varies from incredibly lyrical to aggressive, and his all-male troupe looks stunning whether they are showing off their soft sides or acting tough. The tremendous intelligence behind Wilkins’ choreography and his constant invitation to question what goes on in our world keeps one absorbed in his works.
|
|
about us • writers' guidelines • faq • privacy policy • copyright notice • advertising • contact us |
by Carmel Morgan