It is one thing to see a gem in isolation, interesting and lovely to be sure – but to see a collection of gemstones is to open your eyes to a range of shapes and colors that will enlarge your understanding and appreciation of these rare objects. The carefully juried selections presented in the recent BlakTinx Fesitval in Phoenix gave us an opportunity to see these LGBTQ and BIPOC performers, usually seen in isolation as part of diversity programing, displayed together in relation only to each other. It was a critical shift in mindset and made for a unique evening. I have attempted comments on some of the performances that particularly caught my attention.
Overcome We Shall
Choreography: Shayla Eshelman, Honestine Mbuyenge
Performers: Honestine Mbuyenge, Shayla Eshelman, Alecea Housworth
Overcome We Shall was an immediate audience favorite, with its rise-up, gospel-tinged anthem being energetically, and fairly literally, acted out on stage. Normally, this kind of literalism would be discounted in favor of artistic interpretation – but there was a more significant intention at play here as the artists chose to honor “the weight and the scars” of those who had historically struggled with oppression. Instead of artistically deconstructing the message, they became it. The powerful message in the song to “stand up” and their very relatable dance movement became integrated into embodiments of each other. As such, this group honored the subject, represented it authentically and clearly connected with the audience.
Brother’s Keeper
Choreography: L. Alexander Patrick-Rolando
Performers: L. Alexander Patrick-Rolando, Leo Caudillo
Critiquing Alexander is like observing an artist working in blown glass. The base material itself is so beautiful you would be hard pressed to determine if there were any mistakes. Alexander’s stately presence, graceful movement and endless extension are a thing to behold and the dance itself becomes almost an afterthought. Fortunately, duet partner Leo Caudillo managed to ground the piece with his distinctive style, a contrast that brought the subject into focus and helped develop the themes of manhood in the spoken word soundtrack. The essential state of manhood, “men are the Yin and the Yang” found expression in their alternating portrayals of isolation and tender coupling, culminating in the final collapse and surrender of one into the willing arms of the other – a dramatic and satisfying ending.
Drinking Them Like Wine
Choreography: Candy Jimenez
Performer: Candy Jimenez
Shake It Off
Choreography: Renee Davis
Performer: Renee Davis
We were treated to two standout solos, remarkable for both their similarity and stylistic difference. Both prominently featured extended floor work and could be termed laments.
In Drinking Them Like Wine, Candy Jimenez demonstrated that she can be a force of nature, and unleashed a performance of unrelenting angst. It was staccato and fierce and never really relented until the end, its source and intent remaining a mystery.
Renee Davis, in her piece Shake It Off, in a same-but-different mind-space, seemed consumed by a profound hopelessness or anguish which expressed itself with considerable writhing and intensity, but was delivered with a more nuanced and graceful performance that culminated in a very literal message of being overwhelmed with current events.
While both performers had demons to exorcise, we got to witness an interesting and meaningful difference in the stylistic approach each took in constructing their performance. Seeing both in the same program was a significant opportunity for this audience.
Recess
Choreography: Juls Tarango, Juan Carlos Gutierrez Garcia
Performers: Juls Tarango, Juan Carlos Gutierrez Garcia
On the face of it, Recess should not have worked at all. It was silly and childish with dialog that would make actual children on the playground wince. But then, that was kind of the point. Duet partners, Juls and Juan, set out to create a playful, childlike piece – and judging it by any other standards, while tempting, would be a mistake, particularly since it was executed so well.
This preposterous premise was not only saved but actually succeeded through the sheer force of their personalities and their commitment to the concept. While the duo exhibited no small amount of training and talent, it’s almost impossible to fake exuberance and these two were overflowing with it. Also, if the essence of comedy is timing, both performers exhibited great instincts. While dancers are not known for their thespian abilities, the dialog which drove the piece, however lamentable, was delivered with such clarity and commitment, their expressions so genuine, it wasn’t clear if this was a dance or they were actors doing a sketch. It was fast, sharp, tight and endlessly inventive.
Just to be clear, I’m far too sophisticated to be taken in with this sort of base humor, but their enthusiasm was contagious, their execution impeccable and they brought me along in spite of myself. The thing that we look for in our young talent is the willingness to take risks, make spectacular mistakes, learn and grow. This was a frivolous piece but it was performed with conviction by two emerging young artists who are seriously worth watching.
Contra La Corriente
Choreography: Ali Adelis
Performers: Ali Adelis, Krissy Jenkins
Contra La Corriente was a testament to the immersive seductiveness of Latin movement. This male/female duet, responding sinuously to the strains of a Spanish guitar, engaged each other with great fluidity across the stage. Their pairing was simultaneously aesthetic and overtly sensual – their undulating bodies maintaining an almost electric connection even when separated. Their tight coordination and mobile expressions were ever focused on each other and never allowed us to release our focus on them.
In keeping with the origin and character of this event, Adelis and partner Jenkins demonstrated original artistry that still carried the imprint of the culture. Their performance was lovely, exciting, a thing of beauty and a joy to watch.
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