The first hour laid out the program’s emphasis on the sacred, something we were prepared for. Skerritt read from the writings of the religious organization’s leader, guru and artist Adi Da Samraj, and guest speaker George Greer introduced a DVD showing of a talk by the American-born mystic. By 3pm the dancers and musicians had been introduced as “serious participants in this process” and the actual music and dancing got underway.
Wubbenhorst on lead flute, Michael Sheppard on electronic keyboard, Steve Zerlin and Byron Duckwall on various stringed instruments and Ken Anoff with hand-held drums launched into a piece that ran for 75 minutes. The dancers began seated facing each other on the 8 X 16 foot raised stage they’d built for the occasion. From low-key, seated movements they took perhaps 6 minutes to develop their movements into a standing dance which acknowledged the portrait of Adi Da Samraj off stage left and climaxed in a slow but spectacular partnering sequence in which Tom carried Susana on his shoulders and lowered her to the floor by bending forward from the hips with a straight spine, a risky show of strength. The intensity of that early climactic moment galvanized the attention of the 20 or so members of the audience and lifted this improvisation out of any association it might have had with the lazy or casual.
Later in their improvisation, the dancers managed passages of rhythmic intensity, flinging their arms to the musicians’ tight, fast tempos. We always expect professionalism from the Everts, but we were surprised at how successfully they maintained our interest in the extended improvisation.
From time to time one of the dancers took an extended solo while the other made a costume change. Susana began in saffron-colored pants and leotard and changed into a couple of black and grey ankle-length dresses; Tom began in black tights and leotard and changed to a Saffron-colored unitard. The costume changes gave the piece some added variety and another layer of structure. The breaks didn’t seem to be about resting, for neither dancer seemed to tire over the length of the piece.
After the applause the dancers and musicians circulated around the room, talking with members of the audience. Tom shared some of his perspectives on the performance with us.
“What I find challenging about improvisation is maintaining continuity – finding a language among yourselves – so that if they go somewhere you go with them but stay within a vocabulary. This is a new challenge but it’s refreshing…And you want to get up and please, you know? But sometimes the repose is nice (for performer and audience alike). John (Wubbenhorst, leader of Facing East) wants to work with us some more. He’s a real go-getter, looking for bigger, better audiences; this collaboration takes (his music) into another dimension.”
We said we’d just seen another dance concert that touched on the spiritual, Ohio Ballet’s new dance, Faith. Tom said, “Yes, people are looking for meaning in their lives. The world is going faster and faster with people working and working to accomplish what? So with wars and storms, I think a lot of people are looking for a way to slow down and put things in perspective. A contemplative or meditative approach is a kind of letting go of that do do do do thing. It says, ‘Stop. Wait.’ That’s a really difficult thing for westerners.”
We said our goodbyes and drove home, admiring the beautiful autumn sunshine on the bricks.
The Everts performed October 22 – 23 at Kathy Skerritt’s studio in the old red church at 25th Street and Superior. Go to http://www.adidamohio.org, http://www.evertdance.com, http://www.KathySkerritt.com or http://www.facingeast.com for more information.
From Cool Cleveland contributors Elsa Johnson and Victor Lucas vicnelsaATearthlink.net
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