If you are familiar with the percussive dance trio The soles of Duende’s feetTheir latest show title “Can We Dance Here?” Answers long before their feet go on stage: Yes..
It’s a joke from three bold and illustrious artists: tap dancer Amanda Castro, classic Indian kathak dancer Brindaguha, and flamenco dancer Ariel Rosales. ..
Thursday At the Gibney Center in Manhattan, musicians Raaginder, Okai Musik and Ryan Stanbury participated in “Can you dance here?? , Part of Gibney’s spotlight series to support artists in early careers. By the end of the quick one-hour program, it was clear that the team was ready for a bigger spotlight as the packed homes asked for more. “Can you dance here?” It’s a treasure and a victory.
If the dancers are seeking permission from someone or something, it’s the floor they treat with awe, and sometimes they kneel down and touch it before softening the rhythm from its surface. At their most intense, they appear to draw energy from the depths of the Earth. Their dance styles, like rigorous music, come from a variety of cultural lines, but share this point with the ground and their feet as a conduit to something bigger than themselves. ..
Brooklyn-born Puerto Ricans raised in Connecticut (Castro), Mexican Puerto Rican Jews in the Lower East Side (Rosalez), and Bengali Indians in New Jersey (Guha) will collaborate in 2016. have started. Each one has room to enjoy the details of her tradition, but pay attention to how it brings their style to unforced candid conversations, “Can we dance here?” Deserves. This fluency extends to musicians who refreshingly complement women’s footwork on violin, trumpet, piano and percussion, but it seems to come from relationships as people and friends. You feel they really know and appreciate each other.
The show starts with a voice, not a foot. The dancer stands in the shape of a tight triangle and frequently returns to utter steps in his own dance terminology. Their dialogue begins as instrumental music begins, overlaps with the sound of shoes, or in the case of Guha, hits the floor barefoot under a bell-covered ankle, hits the drums, and rocks into a rhythmic harmony. It gets more complicated. The duo and trio also show an amazing convergence in the upper body, especially between the winding arms of kathak and flamenco.
“Can you dance here?” I emphasize the group, but each dancer also shines on his own. Early on, Guha lets her audience make noise with her through her soulful gaze and the magnetic force of her pleading applause. In the second half, Rosales wears a simple frilled skirt to provide a stately, sultry flamenco solo. At some point, her rapid fire slamming rocks the theater.
Castro, an unpretentious star wherever he goes (recently she stands out in the work of Ayodele Kazel and Dormesia), imitates a game that infused a double Dutch tap or malfunctions in costume. (When the belt began to fall from her wonderful white jumpsuit, she simply stripped it off and threw it aside her.)
Together they are faithful to their name. The program notes include a passage from Federico Garcia Lorca’s “Duende’s Theory and Play”. Duende, a kind of creative power or spirit, “is not a matter of skill,” he writes. .. “
These dancers have it, and I hope they get the opportunity to share it with more people.
The soles of Duende’s feet
Until Saturday at the Gibney Dance Center in Manhattan. Friday live stream. gibneydance.org..
