By Miriam Felton-Dansky
By Lilly Lampe
By R. C. Baker
By Tom Sellar
By Alexis Soloski
By Molly Grogan
By R. C. Baker
Sure, downtown dance has its shock jocks and cultural critics. But for startling, kick-to-the-gut social allegory, I'll take the Japaneseespecially the two acts that opened the 10th annual Japanese Contemporary Dance Showcase.
Jo Kanamori's NINAmaterialize sacrifice1 super st Part is just what it sounds like: creepy, futuristic fantasy. To the sound of heavy breathing and drumbeats, the lights go up on a tableau of stock-still bodies: women in flesh-colored leotards, smooth and waxy as Barbies. Under harsh lights, a lone man in a suit sits in a chair: interrogation room meets gymnastics workout.
The lights flick off and on, and now black-suited men swarm the stage. They're eerie puppeteers who get off on manipulating the female mannequins' floppy limbs, while the drums keep beating. Then, about halfway through, a mannequin is deserted onstage. And to our horror, the rag doll starts to move.
While Kanamori (who worked with Jiri Kylian and Maurice Béjart) dresses his expressionist howl in Euro sleekness, Kim Itoh + the Glorious Future come out of the Butoh tradition: They take their alienation straight up. Itoh's 1996 tour de force Dead and Alive opens with a man (Itoh) in a white nightshirt on the floor. Behind him, three nude men crouch in the shadows, hiding their genitals with one hand.
There are elements of Butoh herethe inching progress, the clown-like facesbut there is something passionately contemporary too. The musicorchestral, warm Mendelssohn and Ravelunderscores a palpable longing. The man in white (Itoh) thrashes against life; the insubstantial nudes hover at its edge. And they yearn, yearn to trade places.