Cassie Wang’s ‘The Head is Not the Star of the Physique’

Motion did in flip, extending each tight precision and straightforward indulgence. Relationships between ensemble members continued to construct by that motion. Tenderness, tenacity, relationship, musicality: all these parts had been clear proper from this opening to Cassie Wang’s The Head Is Not The Star of the Physique, and poignant all through your complete work. 

Wang and collaborators created and offered the work by a Boston Dancemakers Residency, through the Boston Heart for the Arts. This system is an “incubator”, as Director of Dance and Interdisciplinary Arts Andrea Blesso described it: for contemporary, revolutionary work from sturdy native dancemakers. Ilya Vidrin served as Dramaturg, and Dara Nicole Capley as Rehearsal Director. 

The Head Is Not the Star of the Physique held a mirror to huge concepts similar to nostalgia and interpersonal turbulence. Lovely motion, abstraction leaving room for private which means, and a typically calming environment made the view from that mirror each accessible and satisfying. 

Nostalgia got here by interweaving motion reflecting “air guitar”, playground enjoyable (from line video games similar to “Crimson Rover” to clapping sequences a la “Miss Mary Mack” to parachute play from bodily schooling class), and residential video from Wang’s childhood (video enhancing by Wang and Kiki Temple). 

A way of delicate care translated by acts of witnessing, ensemble members watching two others dance a duet. Actions such again scratching, hair braiding, and delicate hugs spoke to care. At instances, some dancers even actually carried others: taking all of their weight in order that, for a time, they didn’t have to carry all of it themselves. 

But, duets additionally mirrored stress and battle between two personas, angles and accent sharp. I contemplated how the nostalgia and interpersonal stress on the stage’s transferring canvas may be linked; reminiscence might be sweetest when shared, however those that lived it don’t at all times see it the identical. 

Staging and motion vocabulary did a lot of the heavy lifting for conveying these concepts: calling upon each the extremely pedestrian and notably virtuosic. Easy touches and weight sharing got here together with advanced floor-based vocabulary and precisely-timed acrobatics (similar to handstands). 

Physicality of motion and of presence tangoed, giving and taking. At factors, waltz, groove, and jazzy articulations expanded stylistic vary – in addition to introduced extra ease and lightness to the ether. All of that successfully contributed to the image on that transferring canvas, nothing prevailing over the rest. 

The Massive Thief tracks additionally set an apt aural environment for these themes and qualities. The ensemble exhibited stellar musicality – attunement to one another’s timing and the rating exacting, but delicate. It didn’t grasp, solely landed in that snug “pocket” of timing. 

Wang structured all of this into little dance vignettes, conveying various relationships and energies. A part of me craved extra ensemble sections within the first half of the work – which was principally centered on duets between two central personas danced by Wang and Hannah Franz. The 2 introduced affecting theatricality, extremely eager kinetic attunement, and plain technical command: all fascinating to observe.

But, I discovered myself craving a bit extra structural steadiness in favor of extra ensemble vitality, their filling the stage with widespread motion made extremely private and sincere – all of them attractive movers and theatrically entrancing. I felt extra known as to, extra emotionally invested in, their story of neighborhood versus simply two in relation. 

Blesso had talked about that that is “just the start” for the work. For additional iterations, such structural evening-out of ensemble and duet sections is the primary factor I’d like to see re-molded, re-shaped. 

I do perceive an intention of eager to heart a sure relationship, with individuals coming out and in of our interactions – as they do in our lives. A framing of their story could be very a lot authentic, solely much less interesting to my coronary heart and soul than the ensemble’s story. 

I additionally level to potential enhancing down; I would problem Wang, in a spirit of inventive exploration and curiosity, to think about what sections may not be contributing extra to the marvel and poignancy that she’s already established. Much less might be extra. That mentioned, commendably, all sections and selections – in and of themselves – felt creative moderately than repetitive. 

The pensive environment, rising from all of that, softened a bit in the direction of the top. An lively crescendo had the ensemble clapping and singing whereas additionally dancing, dealing with the viewers in vivacious, expansive ensemble motion. 

Lights within the area turning off one after the other, dancers sung collectively below a personal fort constituted of a sheet (repurposed from serving for video projection) – recreating childhood sleepovers. The threads of nostalgia and interpersonal connection continued by to this delicate, heartwarming finish. 

I hope it’s certainly not the final finish for this work; I’d like to see Wang refine and construct upon it. Motion enthralling, rating an ideal accompaniment, and themes deeply resonant, there’s a lot right here that I hope extra individuals can encounter. 

The Head is Not The Star of The Physique stands as a reminder of what artists can accomplish by helps just like the Boston Dancemakers Residency, introduced along with their uncooked grit and expertise. Simply because the title affords a timeless fact (granted, if one many in our tradition aren’t conditioned to know), it may really be solely the start. I joyfully anticipate extra of the story informed. 

By Kathryn Boland of Dance Informa.