|Top: Kyle Clark, Bottom: Ryan Cliett |
of Rennie Harris Puremovement
(photos by Brian Mengini)
Watching b-boying, voguing and related arts of the body in an official Hall of Dance shifts one's way of seeing: You're looking for a less sporadic and less frontal presentation, something more kaleidoscopic and something with interesting context. You're also looking for kinds of variety and subtlety that the excellent Harris crew are perfectly prepared to show you over a leisurely stretch of time--rhythmic precision, uncommonly supple physicality, footwork that can rival tap dancers for agility and complexity, and a gymnastic approach to the body that utilizes more body surfaces and levels and directional orientation and speed that we're used to. Crazy stuff. It's particularly great to watch the ensemble's women dancers--Danita Clark, Katia Cruz, Mai Le Ho Johnson and Mariah Tlili--no less forceful for adding a gleeful, distinctive juiciness to their propulsion.
The Joyce program, nearly two hours with an intermission, includes the 1997 Rome & Jewels (Harris's striking, award-winning take on Romeo and Juliet crossed with West Side Story, Shakespeare filtered through the ways and lingo of a couple of "star-crossed homies"), Continuum (1997), P-Funk (1992), March of the Antmen (1992) and Students of the Asphalt Jungle (1995).
Rennie Harris Puremovement continues at the Joyce through Sunday, February 2. For schedule and ticketing details, as well as the January 29 Dance Chat and January 31 Master Class information, click here.
The Joyce Theater
175 Eighth Avenue (corner of 19th Street), Manhattan