Monkey Bar Compared: by Jennifer Arave

Sunday December 27th

MONKEY BAR

 

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
videographer.

 

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

 

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
professionalism.

 

Pasta: Remember the unknown

 

Enters the space

to,

the,

is,

dancing,

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
fruit?

 

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

 

2 hearts living in 2 separate
worlds

 

It’s no sacrifice

 

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

 

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
Boingo?-
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
cigarette?”

 

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

MONKEY BAR

 

Binary discretion (The duet
version)

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.

 

Then-

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.

 

*Unison

 

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
possible.

Desert:  playground

 

goodnight

 

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,
2015

Sunday January 24th,
2016

By Jennifer Arave

 

 

 

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