On the other channel the strong cast of 16 performers helped to maintain a matching measure of explosive energy and restraint, discipline and cutting loose force. They gave a vivid performance that was loaded with intriguing contradictions and detailed compositions, much like early American patchwork quilts.
One element remained a powerful dilemma; how to fit smoothly the presence of a character that is dressed in an oversize yellow jacket, red tie and socks like a comic cliché of a bygone image of a “salesman” holding an old suitcase. He could hardly keep up with other dancers nor did he actually act. He represented the outside, odd one out. He was constantly on stage, yet hardly promoted or affected major artistic moves.
At the ending scene a switch in the artistic process occurred. He turned towards the back screen, pulled it apart, revealed a strange set that seemed to be a ruined theater set with a small screen or picture of desolation, while a song played repeatedly “it’s wonderful here, wonderful here” alongside a loud siren.
In an enormous contrast, the post-coronavirus group of dancers of the KCDC, were stronger than ever, with an impressive cast with good technique. Be’er seems to enjoy challenging them with plenty of new materials. Many were loaded with spiced creativity. Particularly the group compositions that were filled with erupting energy which made the laying bodies jump in the air, or spring up like rising waves. For a split second, one’s heart took a leap too. In a way the mixture between the well structured movements of the larger formations, adorned with solos and trios lit the stage before they rejoined the larger group and gave a strong rhythmic boost to the dance’s architecture.
Yet my favorite miniature encounter was a short duet, where a couple stood apart, their hands spread sideways like wings, and with no apparent trigger both leaned diagonally toward each other. This simple, precise change of positioned body created a play of parallel lines of their limbs, and turned to be a totally unexpected experience of geometric aesthetics giving birth to living sculpture in the making.
Ta’atua had actually left many strong images, many unsolved questions and a feeling that some materials were intended to add depth and layer the work, yet actually they were an excessive burden on certain scenes and unfortunately slowed the flow.