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Nobody Understands Me
by Sarah Rebell
Nobody may be able to understand Sam Kim's new dance as its title implies, but they can certainly enjoy watching this superb piece of modern dance which recently opened at Dance Theater Workshop. Kim's dance work has been described as "exciting kinetically and very resonant of new developments." Such a claim was illustrated through the scenery (a glittery nightclub style background curtain that was simultaneously relatable and distancing for the audience) and 80's rock music, which although it was extremely well used in the piece, rang out from the speakers so loudly as to diminish the appeal of the music. The again, perhaps Kim was trying to set a tone with this overly loud music, that sometimes halted and allowed for the dancers to move onstage against true silence. Oftentimes, the dancers' movements fit the music perfectly, such as when landing jumps etc., but there were other sections in which the dancers might be performing quick, rapid motions to a slow and steady song.
The musical aspect was not the only feature full of contrast in the piece. As the title may suggest, the dance seemed to take on a journey, through the many contrasting sides of human nature shown through formations and movements. The opening picture is that of two dancers (Anna Azrieli and Tracy Dickson) lying on top of each other while Kim herself moved her hips to the beat of the music in the background, showing both togetherness and isolation within one movement on the stage. These three women were the only dancers in the piece with the exception of the awkward ensemble seldom seen and adding little to the quality of the piece when they were shown. Had Kim really wanted to use an ensemble in her dance, she out to have made a place for them and given them a purpose for being onstage, or at least some interesting choreography. As it was, their costumes were the most captivating part of their role, which suggests that were they not to be improved upon, the ensemble should be cut. Nevertheless, the three main dancers were impressive, with strong technique, the movements seeming to just pour out of them as they used the dance to reach out and capture the audience's internal core. Although each dancer had her own interpretations and connection to the piece (Kim's movements rang out with the sharp intensity of one who had created everything, Azrieli had the strongest stage presence, etc.) all three expressed a depth of emotion not from their facial reactions but from using their bodies. It was perhaps because their faces were so blank and unemotional that the dancers were able to freely prod deeper into themselves and reveal their vulnerability in a way one cannot through conscious expressions. In a sense, the closed faces allowed the dancers and their movements to be unafraid and honest.
My favorite feature of the performance was the actual choreography. Kim's movement style was a vivid, beautiful combination of ballet, modern and mere positions/motions. Her style was compelling to watch, intense and graceful enough through the motions and dance that one did not need to search for a story or analytical depth to the piece in order to connect with it. The dance was a risk, but a risk so captivating that finding a plot line did not matter as much as just respecting the art and understanding the honesty of her movements. And yet again, that overwhelming sense of confidence and fearlessness gave the dancers the ability to fully conquer the stage. Kim was quoted in the program saying: "Essentially, I crave more courage from everyone to be themselves." She certainly found that courage in her own dance, and used it in order to show the things no one understands, translating them into issues that we all comprehend and relate to. And that after all is the true power of the artist.
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