Of whirling blades and private discourses

Danced by Jodi Melnick & Matthew Morris.
Lighting: Joe Levasseur.
Sound Score: Joel Mellin.
Choreography & production: Jodi Melnick & Burt Barr

In anticipation of tonight’s performances Fanfare and Bell, I sit down in the Great Hall at the Irish Museum of Modern Art, scrutinising the 17th century portraits of Kings and Queens. Queen Anne is staring back at me intently. The IMMA (housed in the former Royal Hospital Kilmainham) is known nationally and abroad for providing the vast exhibition grounds for contemporary and modern works of art. Considering its mission to promote modern art (of both established and new young artists), the IMMA therefore embodies an apt setting for modern dance pieces staged in the context of the 2011 Dublin Dance Festival (DDF).

Before me, the pitch black, wooden stage with black side panels sharply contrast with the majestic paintings on the walls. The black of the foreground is juxtaposed by two white screens at the back which meet in the centre, thereby constructing a triangular shape. This modest, unfussy stage arrangement sets the scene for Fanfare, the first piece of the night.

The white screens reflect the revolutions of two silver fans, placed on large rectangular, white stands at downstage left and right. At their front, two additional rectangles hold projectors, that create a mystic, ghostly ambience by reflecting the repetitive, circular movement of the fans.

The choice of title for this collaborative work of the choreographer Jodi Melnick and the artist Burt Barr, is somewhat deceiving. Personally, the term Fanfare evokes images of trumpets, brass instruments and large, public processions. But the bustling whirr of the fans is all there is to hear. Even when Jodi Melnick finally appears on stage it is this discreet hum that continues to accompany Jodi’s delicate, precise display of movement.

Starting with her back to the audience, and intermittently looking over her shoulder, the piece suggests privacy and secretive discretion. The light stomping sound of the dancer’s feet, and her fluid arms and hands bear a mesmerizing quality, pulling you into her private world. As Jodi paints shapes in the air, she retains a pensive, intent facial expression. Despite its title, the display is thus very much removed from being a public celebration but more so resembles a private monologue.

Half way into the short piece, waves of air suddenly blast in from the left, then the right side, repeating time again, and creating a rhythmic, musical tapestry which sees Jodi’s speed picking up. With occasional beating of the chest and clapping hands and palms, additional sound is created by the dancer.

Finally, the rhythmic sound waves stop abruptly, and Jodi halts downstage left, facing the audience, repeating the same motion of seemingly collecting energy with both hands from the pelvis region time and again. she then moves the right arm from right to left, pointing the index finger to the left corner. The motion is meditative, pure and draws the audience in, until at once, a male dancer, Matthew Morris appears beneath the point of Jodi’s finger.

Music finally sets in upon Matthew’s arrival and the two dancers start moving in sync. With Jodi in front, they move from centre downstage to centre backstage, only to end up at the front again and to perform an exquisite closing floor sequence. They paint circular shapes on the floor with their feet, the man’s all grey contrasting with the black dress that glows against Jodie’s white skin.

This final scene is so very delicate, and concludes a piece which is technically well executed (Jodi’s liquid arms are almost beyond words) and well synchronised between the two dancers as well as having a dream-like private quality. Fanfare is a prime example of a contemporary piece of modern dance. One that is well able to provoke emotions in both the dance-savvy and more lay audience. It is, in total – a beautiful, and unique celebration of the human body at work.

Jodi Melnick is an award-winning choreographer, dancer and teacher from New York. Previously, her work was presented in Ireland in the context of DDF 2008. In 2008, the Irish contemporary dancer Jenny Roche, who is also the co-founder of the Dublin based Rex Levitates danced one of Jodi Melnick’s solo choreographies in Solo3 in addition to works by Liz Roche and John Jasperse.

The 2011 Dublin Dance Festival continues until the 28th of May. Don’t miss out.

Read Jasbelly’s introductory window onto the Dublin Dance Festival

Messages From The Big Rock Candy Mountain would like to thank the 2011 Dublin Dance Festival for allowing Jasbelly the opportunity to review their shows. We would also like to thank Stephanie of Kate Bowe PR for everything.