Review: The Lightness of Black Grace [Dance]
The eight short pieces that were performed illustrated an array of influences, and each was handled with passion and athletic elegance. Inspired by Samoan tradition, classic ballet, unruly weather patterns and the controversial claims of an ethnocentric academic, the program ebbed and flowed at an engaging pace.
Between each section, Black Grace’s founder and artistic director took to the stage for a brief commentary and explanation of what was to come. Neil Ieremia, youthful and good-natured, founded Black Grace in 1995 and since then has received consistent praise for his creative endeavors. His heartfelt commentary and gracious presence complemented the dancers and made the viewing experience a meaningful one.
Standout pieces included “Minoi,” which fused Samoan slap dancing and vocalizations with Western movements and popular culture. Ieremia arranged the music himself and included elements of a song his mother sang to him during childhood. The finale, a lengthier piece called “Lausaue (Tapulu Tele),” captured the emotions and horrific pain involved in a rite of passage tattooing ritual experienced by many male Pacific Islanders. Intense and innovative, the spoken word chorus (“the forest is full of ghosts/but no one is afraid”) and the crescendoing movements of the dancers made for a fitting and satisfying denouement.
If they take audience appreciation into account, Black Grace surely has a reason to come back to Austin one of these days. We’d suggest you attend their bound-to-be worthwhile performance if you ever have the chance.
