STARR FOSTER DANCE: {Your Name Here}

finding yourself in the movement

A Dance Review by Julinda D. Lewis

At: The Conciliation LAB @ The Basement, 300 East Broad Street, RVA 23219

Performances: November 5-7 and 11-13, 2021.

Ticket Prices: $13

Info: www.starrfosterdance.org, www.facebook.com/starrfosterdance, Instagram/starrfosterdance,   https://m.bpt.me/event/5281579

For their first home-based performance since February 2020, Starr Foster dance returned to The Basement (it was TheatreLab then, and Conciliation Lab now) with an innovative and timely choreographic work by Artistic Director Starrene Foster mysteriously titled {Your Name Here} finding yourself in the movement.

The trio is performed in an environment framed by four metal trees. Their branches are bare, and the floor is strewn with fall-colored leaves. When the audience walks in, the dancers are already onstage. They stand in a line, arms extended, holding hands. And they whisper. What they’re saying is never revealed. It could be a prayer. It could be confessions of past sins. It could be hope and dreams for the future. It could be the secret things you have not yet voiced to anyone else made manifest in this intimate public space.

I had been invited to a rehearsal of {Your Name Here} finding yourself in the movement a few days earlier, but here in this setting, with lights and an audience, it was an entirely new experience. And just two days earlier, I had seen a performance of Our Town, so perhaps the simplicity of that set and the everyday-ness of Thornton Wilder’s storytelling lingered and influenced how I saw {Your Name Here} finding yourself in the movement.

Or maybe it’s more obvious than that, because, after all, Foster did put you right in the title: {Your Name Here}. Julinda. Starr. Thomas. Albert. You. Yes, this work is about you. The everyday, ordinary you. The secret you. The post-pandemic. You. That’s why there are FOUR trees. One for each of the dancers. And the fourth one is for…you.

Trees. Trees represent life and growth. The tree of life. The tree of the knowledge of good and evil. Trees are symbols of wisdom, power, growth, and prosperity. In mythology, trees are home to spirits. They represent physical and spiritual nourishment and transformation. In winter, their branches are bare. In spring they burst forth with new life. In summer they bear fruit. In fall, they drop their leaves, and appear dead to the outside world, but inside, under the earth, where their roots dig deep, they are actively creating, preparing to repeat the cycle all over again. These trees are bare, and their leaves are scattered on the ground, the floor. This is where the dancers find themselves, where we find ourselves.

Foster has a new, pared down company of four women. The opening night cast consisted of Fran Beaumont, Ana Pavón, and Lydia Ross. Each has a moment or two to shine in this 37-minute long work, performed without intermission. Each of the three performs Foster’s choreography in Foster’s unique style – a contemporary genre that reflects stylistic and technical aspects of ballet, modern, post-modern pedestrianism, contact improvisation, and whatever else as needed – but each dancer also brings their own personality. Beaumont has a strong, powerful core wrapped up in a wide-eyed vulnerability, sort of like those iron gym weights that have a rubber outershell to keep you from hurting yourself too badly when you inevitably drop them. Ross’ perfect lines and cat-like softness so beautifully mask the technical expertise that power her hypnotic movement. Pavón is languid, unhurried. She is the one who takes an extended nap in the garden while Beaumont and Ross, continue on the journey, sometimes holding hands or leaning on one another.

The dancers move the trees from a straight line into a cozy, protective grove, then into a wandering tree line. Sometimes they lean into the branches, touching, stroking, gently fingering and shedding a handful of scattered leaves. Sometimes Beaumont and Pavón curl themselves around their trees, and at one point one of the three even dragged her tree along. They even tip over the trees and lie awkwardly but content beneath its branches. Sometimes life’s trials lead us back home, back to the place where we feel loved, nourished, renewed. Sometimes we have to plod along, carrying all our baggage with us for a while. Where do you see yourself in this scenario?

Foster first conceived of the idea – and the trees – then found the music of Sebastian Selke and Daniel Selke. The Berlin-born duo known as CEEYS plays piano and cello and the pieces Foster selected (“Eichenthal 302,” “Waende,” “Circa,” “Winter Sleep,” and “Strelka”) have repetitive motifs that support and expand the movement phrases Foster created. The lighting design bu Austin Harber is subtle, and much less dark than Foster has been known to favor. And if this seems like a lot of words for one 37-minute long work, well, that’s because so much is packed into

{Your Name Here} finding yourself in the movement and the open invitation to insert yourself and your story into this choreographic journey is so immersive. {Your Name Here} finding yourself in the movement is just what we need at this time.

{Your Name Here} finding yourself in the movement

Choreography by Starrene Foster

Cast

Fran Beaumont (Nov. 5, 7, 12, 13@5PM)

Anna Branch (Nov 6, 11, 13@8PM)

Ana Pavón

Lydia Ross

Music Composed and Performed by CEEYS

Sebastian Selke and Daniel Selke

“Eichtenthal 302,” “Waende,” “Circa,” “Winter Sleep,” and “Strelka”

Lighting Design by Austin Harber

———-

Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.

Photo Credits: Starr Foster Dance by Douglas Hayes. NOTE: Photos were not yet available at the time of posting.

Author: jdldances

Julinda D. Lewis is a dancer, teacher, and writer, born and raised in Brooklyn, NY and transplanted to Richmond, VA. A retiree from both the New York City and Richmond City Public School systems, she is currently an Adjunct Instructor for the Department of Dance and Choreography at Virginia Commonwealth University, and holds the degrees of BS and MA in Dance and Dance Education (New York University), MSEd in Early Childhood Education (Brooklyn College, CUNY), and is currently working on her dissertation in Educational Leadership (Regent University). Julinda is the Richmond Site Leader for TEN/The Eagles Network and the East Region Coordinator for the International Dance Commission and has worked in dance ministry all over the US and abroad (Bahamas, Barbados, Haiti, Jamaica, Kenya, Puerto Rico). She is licensed in dance ministry by the Eagles International Training Institute (2012), and was ordained in dance ministry through Calvary Bible Institute and Seminary, Martinez, GA (2009).

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