'The Last Parade' reviews 'Speaking Ill of The Dead' reviews Wells in reviews recent Robert Moses Kin reviews more Renee Renouf reviews Discuss this review (Open for at least 6 months)

Moses’ style of movement possesses distinct African roots. I saw his works and an African ensemble, back to back February 24-25; seeing energy expended in staccato frenzy and a highly direct delivery to the viewer February 25. I realized Moses draws freely, deeply on this movement heritage creating a remarkable, sometimes compelling fusion. Tempered by Western training, yes; the lineage, however, is distinct.

This also is the first season seen of Kin in which Robert Moses did not appear in at least one work, group or solo. But the Moses style was not absent. Other Gods (2004) progresses from lyric ensembles into more static positions where the idiosyncratic gestures Moses is noted for received full play. George Pelelcis’music with its extended single string sections provided a reason for the movement-to-every-note in Moses’ choreography, directly parallel to February 25's dance demonstration at ODC’s Performance Gallery. More amazing yet was ash-blonde, willowy Katherine Wells, formerly with Oakland Ballet, executing a solo section with an uncanny replication of Moses himself. It was a stunning demonstration not only of the style, but Wells' absorption in the choreography, an immersion Balanchine would find gratifying.

The Soft Sweet Smell of Firm Warm Things (2001) employed the full company and made full use of the male dancers Ramon Ramos Alayo, Todd Eckert, Michael Separovich and Kevin Anthony Adams along with Tristan Ching, a company member since 1995. I was particularly taken with Adams whose port de bras and presence blended classical precision and grace with sensual ease in Moses’ choreographic style, a quality shared by Raissa Simpson.

Evenly divided between movement style and socially-based comment, the second half started with the premiere of Speaking Ill of The Dead. The 8.5 by 11 inch paper announcing the death of a man or a woman in Iraq was held in the hand of the company's male members, dropped or slapped on the floor; they almost moved in waves from the back to the front of the thrust stage. Grief in movement and in posture vied for attention with proclamations regarding loss: life, a loved one, freedom - of movement, speech, liberty. Moses is skilled in his capacity to convey the sense of a larger issue within the structure of a piece; if he assumes we are aware of the particular issue, we as audience have a responsibility to bring awareness to witness Moses’ perception. Though Speaking Ill of The Dead doesn’t delve into the particular in great depth, what is required of the audience is not a bad trade off, for the breadth of Moses’ social canvas is indeed a clear one.

The Last Parade (2006 - premiere) Joanna Haigood, noted in this area for her remarkable site specific works, has created a social comment which clearly draws roots from Kurt Jooss’ Green Table before it moves onward, to depict a US environment. This is poignantly personified by Katherine Wells, in her progressive loss and death of innocence, buried literally under the American flag. Haigood substituted a chair and various heights of square open box-shaped platforms for Jooss’ table, and the telling use of various sizes of American flags,including one upside down star field, as the dance unravels collective expectations. The final minuscule oblong is not an Old Glory replica but a miniature square of red and black stripes.

Haigood also employs the figure of a female media broadcaster (Bliss Kohlmyer Dowman),to great effect. Clutching a mike, she is the horrified participant/observer. Her use of Amy Foley, charms hidden under a slouchy cap, dressed in chinos, a tee shirt and sporting a pistol clearly parallels the figure of Jooss’ profiteer, particularly when Foley over sees the clean-cut American boy’s (Michael Separovich) contact with the clean cut American girl (Wells), boy then knocking girl around in stereotypic WASP arrogance. Girl also has to confront the reality of a woman well aware of the ways of the world in the provocative figure carved out of the scenario by Raissa Simpson, a figure knowing how to handle persuaders and politicians (Todd Eckert). Wells’ passivity, posture and inner hysteria build a massive record of progressive disintegration, horrifying because it simply is so neat, orderly and compliant. Dowman’s commentator becomes thoroughly cowed by the proceedings, clutching the mike ever more firmly; witness to Well’s entombment under the flag, she even smooths the creases and fold-over edges of Old Glory before retreatinig resolutely out the back central exit as the lights are extinguished.

Not having seen Kin recently, I would have appreciated some indication of who danced who beyond the program profiles; Haigood’s work was a logical place to accomplish such assistance.