Exploring universality of the human condition; defining one's selfhood from teen years to maturity; getting back to the basics. Dance Kaleidoscope's season opens this week with sizzle, speed and mysticism. The company's opening program, New Dimensions, with two premieres by guest choreographers and the revival of a 1998 Hochoy work, reminds us the only certainty we have is change.
"We are touched when we see choreography and we see something personal in it," sums up Dance Kaleidoscope Artistic Director David Hochoy. "You know it in your heart."
The returning work in the show, iconoGlass, is built on music by Philip Glass. "It is the first time we are revisiting this [dance] with none of the original cast members," says Hochoy. "It is interesting to see new individuals internalize the choreography and spit it out. These dancers are stronger, faster, lighter, and combine athleticism with artistry. They bring sharpness to the piece." Hochoy said he's delighted that iconoGlass, which premiered 15 years ago, "has not dated at all.
Butler professor Cynthia Pratt says her new piece in the show, The Whole Against the Sky, is a narrative about oneness that explores "our desire to ascend beyond divisions between people and move toward the coming into union." Trust and support — the magnetic forces for building community — are central themes moving us from despair and sadness at journey's start to a closing benediction and "resolution of being one together."
Christopher Dolder's River Boy engages Dance Kaleidoscope dancers with a very new concept of working with a set of huge inner tubes. The piece is based on Dolder's memories of growing up in Northern California, playing on the river as a kid. But the frolicking has deeper implications of finding his selfhood, his "soulmate" and testing his derring-do. Dolder brings a cross-disciplinary approach to his choreography, particularly inspired through projects in theater, dance, music, videography, kinesiology, "green" architecture and land rehabilitation.