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| Lime Rickey International (aka Leyya Mona Tawil) (photo: Vesa Loikas Photography) |
Future Faith
Lime Rickey International
Abrons Arts Center
March 7-9
"Lime Rickey International is the superconsciousness of Leyya Mona Tawil, an artist working with dance, sound and performance practices. Tawil is a Syrian, Palestinian, American engaged in the world as such. Lime Rickey International emerged as a container for the world of lost homelands. The works of Lime reference Tawil’s training in Arabic dabke as well as decades of work in the realm of contemporary dance, improvisation and experimental performance." -- from publicity for Future Faith*****
Syrian-Palestinian-American transdisciplinary artist Leyya Mona Tawil first appears to us drenched in red light, hunched in a corner just to the side of the Underground Theater's staircase. We're finding our seats, and she's taking a private moment, crouched on the floor with the front of her body turned towards a wall. The audience seating has been shifted around from its usual orientation to now afford a view of the theater's door and staircase and part of the balcony. The theater space is not big but, gazing across at Tawil, an onlooker might feel, at once, both distant and invasive.
The deep red serves as the performer's shield, though; at the start, we can't detect, for instance, the glossy electric-blue/green cyan of her wig or shiny chartreuse of her costume. Later, these items become shields, too, for the human beneath.
There's a persistent drone that--even more than the visual elements--serves notice that we've stepped into altered, potentially hazardous space. Although it comes from equipment near Tawil, it might just as easily stream from her pores. Just who and what are we looking at, anyway, and what is about to happen?
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"The choreographers that I know and respect who are pushing dance forward right now are trying to create a model of relationships - not just between dancer and dancer, but dancer and audience, and also dancer and society, and stage and society. So what we're doing onstage is actually a suggestion for how we can treat one another in the world. Contemporary dance is a suggestion about how we wish the world would be. It is less about art reflecting society and more about art going through the wall and creating something more. This is a search for future forms." -- "Leyya Tawil in Conversation with Linda Weintraub" (Critical Correspondence, 2014)*****
The visual and sonic mood eventually lifts, and we see Tawil more clearly despite the fake hair flopping over her skin. Dancing, she looks robust in her futuristic, kind of goofy costume, a strapping woman freely inventing and reinventing herself and not hesitating to assert herself in space. Her angular moves sprawl every which way, gesticulate as if she were a stick figure engaged in full-body sign language. She flaps and stomps, and I'm reminded that dabke--the name of an exuberant Arabic dance tradition she cites as an influence in her work--literally means the dance of stomping.
I do not know what it means when, late in the 45-minute piece, Tawil's sound swerves back into the threat zone, but it's like the room becomes a paper shredder, and I'm thinking that--what does she call it? superconsciousness?--is something formidable with which we should never presume to get too cozy.
Composition/Choreography/Performance: Leyya Mona Tawil
Live Lighting: Emese Csornai
Costume: Scott Tallenger
Set Design:Tim Clifford
Audio Tech: Ian Douglas-Moore
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Future Faith concludes with a 7pm performance this evening. For information and tickets, click here.
Abrons Arts Center
466 Grand Street (at Pitt Street), Manhattan
(directions)
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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.
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