“I moved here after I got back from Tangier, thinking that I was going to be here for a month, or at the most three months. I had no idea that I was going to spend the rest of my life here,”
Nearly three months after theaters began to close, we dont seem any closer to returning to normal and instead face the reality that this crisis will forever change the way we dance and our world. The slow creep of coronavirus has made it difficult to see where we are and chart where we might go next.
The object seems to spark joy, encouraging the dancers to climb around its hefty bulk and investigate its crests and falls. While at times the dancers balance atop the sculpture, recalling some of the more poised moments of previous sections, their work in relationship to this sculpture is playful, sensual, and even lazy. With this works emphasis on pleasure and relaxation it did not initially seem like a training device, even though it elicited specific responses. Watching this section I wondered if training does not always have to be disciplinary. Do we need training to play? Or at least training in setting aside time and space to do so unencumbered?
During their yearlong residency at the Red Hook nonprofit Gerard & Kelly took a photograph at 4:33pm on the first day of each month that captured the evanescent light cast through the refurbished iron factory’s cutout windows, a striking portrayal of the simultaneously subtle and monumental forces of the earth’s rotation around the sun. 4:34pm