March 2, 2000 |
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There's an elderly woman I sometimes see perambulating the streets of Greenwich Village, sometimes by herself, sometimes accompanied by a young man, often with a confused look in her eyes. I don't know her, but I do know who she is. Because I am aware of her stature, I always try to greet her by name, in the notion that it means something to her to be recognized. I've seen all too little of her work; I've just taken the word of others that it's got grit. Thursday night at the Miller Theater, thanks to a group of women on the opposite side of their careers--dance students at Barnard College--I saw why Anna Sokolow is a legend. To a pedestrian like me, Sokolow's "Ride the Culture Loop," staged by Lorry May, seems like a tough dance to take on, for dancers of any age, let alone those at the beginning of their careers. The title refers to a bus route which began in Greenwich Village, passing through the Upper East Side and Spanish Harlem. |
The music reflects this diverse landscape, streaming from electric guitar to symphonic jazz to Latin jazz to mambo. The movement goes from the vivacious -- such as a semi-spastic beginning, to the guitar, and a conga line towards the end -- to the pensive, such as a diet, danced calmly by guest artist Benjamin Cortez and Heather White. It has a feeling of travel, at a wide range of tempi, with varying degrees of urgency. Sometimes they bundle together as a group, at one point waving, as if from a bus; at others the patterns are more spread out and spare. I was impressed not only that the dancers could pull this off, but that they did it so seamlessly. Those dancers: Cortez, White, Miranda Calderon, Elyssa Dole, Kate Garroway, Julie Grinfeld, Katie Higham-Kessler,Tohko Kosuge, Jessica Lewis, Leah Nelson, Cathy Paras, and Diana Torba. What impressed me about Sokolow's style is that it had no one style, no recognizable set of phrases. I understand some might find this a liability. For me, the attraction is that the phrases were built specifically on and for the music . . . .
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