celebrating the “in-between”
by
Douglas Messerli
Ana
Maria Alvarez (and cast members) choreography, Contra-Tiempo Urban Latin Dance
Theater, joyUS just US / the production I saw was on January 17, 2020 at
the Bram Goldsmith Theater at the Wallis Annenberg Center for Performing Arts in Beverly Hills.
Last
evening I saw the dance performance choregraphed by Ana Maria Alvarez, along
with company members, of a series of Latin dances titled joyUS just US,
a company as the work’s title suggests, is about their US identity, despite the
disparate backgrounds of their dancers—Isis Avalos, Charlie Dando, Jannet
Galdamez, Bianca Medina, Alan Perez, Jasmine Stanley, Diana Toledo, and Dalphe
Morantus—who proudly proclaim their citizenships despite our current
President’s and other political leader’s abilities inability to comprehend the
“in between” nature of our own cultural heritages,
Together they bring song (mostly through
Toledo’s soprano renditions) music from the band Las Cafeteras, fusing
Afro-Cuban and contemporary dance styles that utterly transform what we
generally perceive as modern dance.
This troupe, displaying dazzlingly
colorful tapestries, perform with part of the audience onstage, divided into
the two sides of the performance space, as if to include those of us in the
audience in their remarkable athletics, and, at one moment encouraging the
on-stage audience to participate in their actions.
If this might not be described as the most
elegant of dance concerts, then you wouldn’t enjoy, as I did, this exuberant
company. The Contra-Tiempo group is entirely about expressing the excitement of
their physical abilities and their bodies, dresses whirling like Turkish dervishes,
and male asses displayed as true sexual enticements. Sex, in these dances, is
nearly everything. This company does not at all hide what they have to offer,
and the audience clearly enjoyed their displays of what dance, open, joyous,
proffers.
When I met the great choreographer Paul
Taylor at a gay bar in Madison, Wisconsin, I expressed my interest in being a
dancer, despite the fact that I had previously had no training. He looked me
over, observing that I was, in those days, a cute and thin male figure. “It’s never too late,” he pontificated. “I began
very late myself. You should dance.”
And I did, taking nightly classes at the
Joffrey Ballet Company in New York. I was not a natural. But I so enjoyed those
difficult hours at the barre. And, in one wonderful moment, when asked to pirouette,
I accomplished it, and was praised—something that rarely happened in such daily
exercises.
The Contra-Tiempo company is a rather wild
group, a sort of off-shoot of modern balletic dance; yet their beauty and
energy are something that no one who loves the movement of the body might
resist.
Los
Angeles, January 18, 2020
Reprinted
from USTheater, Opera, and Performance (January 2020).
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