Monkey Bar Compared: by Jennifer Arave

Sunday December 27th



God bless the final end of mimesis and comprehension, and all hail to
embodiment and presence
(the solo
holiday version)

by Jennifer Arave



Audience, intimate.  Seven folks, including myself, my
partner Patrick and the videographer.


Program Delight: Essy


Menu is posted


Music very loud, Missa started solo, then a Light adjustment, then solo


Hors d’oeuvres: Fables & Mushrooms and Cider


She begins to read text off of
her body from all over her body, contorting to access text. This is the dance


I ask myself, why is this not a
hippie thing? Accounting presence and persona.


(crosses off menu item as eat
one is finished.)


Cold starter: FREDDIE


A distance voice, instructions
for the audience to get a drink.  Missa has a lot of words to wipe off of her.


She solicits help from the


Freddie is mimicry, Freddie is
amazing magic. A solo of a solo. Abandon embodiment, reckless channeling. Live


Soup: Pop quiz


It’s the lovely tapping of Puma’s
on the metal spiral staircase in the interstitial moments.


After this it’s a costume change
and self- determined music queues.






 Appetizers: Ukemcowhacool


Songs on an ukulele


She asks the audience to pretend
she is wearing the pants she holds in her hand. Costumes or choice to
jettison the costume is setting the pace. She sits in the middle of the bare
floor with the words to her song on sheets of paper with the ukulele in her
lap with her pants, takes a fueling breath and sings. Her casual


Pasta: Remember the unknown


Enters the space





backwards, onto the stage.


She enters the stage backwards
against the wall. Repeats: traveling backwards, turning, flipping, traveling
dying on the floor.


Salad: Hunting and Dying


A distant bell ringing.


Singing at the edge of the stage
area, then moving through the seated audience to the space while eating make-believe


Burgundy pants undulating
movements and somersaults forward and backwards, and jumping between sound
notes acapella


2 hearts living in 2 separate


It’s no sacrifice


Her back against the ground as
she sings in a classic crooner voice— covers face, ceases to sing, and


Sorbet: Jilt


Running computerized music,
running electronic chords.


Missa runs onto stage area


Computerized arpeggios


The running dance: fast, quickly
to the music (slow organ notes)


Panting Missa


80’s music? Oingo
everything went with and against the music. Supported it and tore it
apart.  Add shifting genres.


Forced-through choreography.
Slow banjo, harpsichord…. Compelled to dance.


Fish: 1025


“Anyone have a


Hoopla hoops- 2 hoops and a Ukulele in overalls, multi-tasking.


Entree: ln the Myst


Missa off stage filing through songs- 1 line then 1 line.


Missa enters- mash-up:  a Latino, slow singing, violent
femmes’ marimba, violent drums, jack hammers, Dylan…


Moving deliberately, 1 move at a
time, paced, shaping space close to her body. End. Pant, pant.







Dessert: Goodnight.



Sunday January 24th



Binary discretion (The duet

by Jennifer Arave







Program Delight: Espresso
and tequila

 Menu is posted


Dance intro is taken in turns



Hors d’oeuvres: Wilted sail


The flaccid dance, wilted dance.
Movements under wilted rise and falls


Listless posing, long movements


Additional music, and structure-
bones, pause, muscular collapse, energize, rigid concentration.


Surf music, surf dancing














 Soup: I’ll be your mirror


Missa’s abstract yet very tangible arm movement,
gestural.  BUT NOT MIME.


Rising on toes from ground to
heights. Stretching up.


Contrast on mouth between hand.
Gesture, more than quotidian: active, elastic. signals of dance.  Hands not loose, not dead–
empathetic.  What is loose is
fully loose.

 Appetizer: Twyla financial visibility


Non balled up paper on tables
that were closets to the stage.


Reading from the paper dance
emerges from the paper.


Why is this so engaging?  It’s eye candy and anticipation like
an advent calendar laden with small, but wonderful insignificant gifts.





One of those papers had her now
looking very surprised and suspicious as she danced.



Very weighty paper full of coins


Crying into the unfolded ball

Then exit.



Salad: Desperate : Revolutions


A slow rotating walk with spoken
story telling by Missa


















 Crustaceans: King crustaceans


Jazz music. Movement. Followed
by a slow steady story that sounded something like a Mad Lib spewed out 1 word
at a time.
















Fish: Predominantly your face


Non draws my portrait.





Entree: tempered finis finis


Sappy 1940’s love, mystery
violent music

-duet on the border of the stage

dance in a dimensionale
perspective of each other. Alternating and moving together in many many
dimensionale ways

Ending laying on tables was Missa, on the floor was Non– next to each other.




They clumsily wiggle their way
over and out of collapsing tables and prop mishaps, all the while never
breaking the dance, and perhaps because of the dance, their escape was

Desert:  playground




Commenced with the closing
raffle and closing dance with the winner of the raffle.



Missa Kes and Non Edwards

Monkey Bar

Bedlam Lowertown

213 East Fourth St / St.
Paul, MN 55101

Sunday November 29th,

Sunday January 24th,

By Jennifer Arave





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