Symbiotic creations are danced out across NY Live Arts’ stage

The old adage, “The journey’s more important than the destination,” does not quite apply to the students whose pieces, set by cutting-edge choreographers, premiered downtown on Thursday, Dec. 1. In the city dance scene, a prime location draws an eclectic crowd of artists, enthusiasts, and critics looking to discover new, young, local talent.

The Barnard Project will continue for one show on Friday, Dec. 2 at 7:30 p.m. and two shows on Saturday, Dec. 3 at 2 and 7:30 p.m., at New York Live Arts (219 W. 19th St., between Seventh and Eight avenues).

As the first university partnership of its kind, the program pairs dancers from all four undergraduate colleges with curated artists from Dance Theatre Workshop who work together in a semester-long residency. Since its inception seven years ago, the project has commissioned 26 new works. Most significantly, it provides young dancers with a professional performing arts experience.

At the Wednesday, Nov. 30 dress rehearsal, an invitation-only audience was treated to four works as breathtaking and diverse as the dancers themselves. While each piece possessed distinguishing elements, they collectively showcased a maturity and artistic depth rarely seen at the college level.

“This was technically our first performance, and even though it was a run-through, it felt really good. This is our work, too—we did a lot of improv,” Katherine Huet, BC ’15 and one of the dancers, said.

Donning sunny yellow ensembles, “E Pluribus,” choreographed by David Parker, featured elements of tap, ballet, and contemporary. Dancers moved gracefully to music from “La Bayadere.” Each showed off his or her personality through solo moments as the music progressed from a traditional American folk song to the 1963 pop hit “Downtown.” The performers rhythmically mimicked tap-dancers, shuffling and stepping in bare feet. Unexpectedly, a girl partnered with a boy who then partnered with another boy. With its playful mood and charming performers, this piece opened the show with enough imagination to draw the audience in and leave them wanting more.

A dramatically quirky piece, “Howl,” by Ivy Baldwin, changed the pace. Seven girls dressed in costumes seemingly plucked from their grandmothers’ attic trunks proceeded to thrust, throw, and twirl their bodies every which way, revealing a wild side hidden beneath their demure appearance. A trio of girls released a piercing shriek reminiscent of the title. Original Bon Iver-esque music by Minneapolis-based artist Justin Jones accompanied the dancers’ simple movements—their audible breathing only added to the ear candy.

Stripped of most sound, Susan Rethorst’s “Jazz Out of Water,” was danced in silence save for the occasional interlude of a melancholic Angelo Badalamenti piece. However, the polka-dotted and striped dancers spoke volumes through their movement by forcing viewers to hone in on their bodies rather than relying on musical cues. Yet their far-off expressions did not help build a strong audience connection. With its languid movement and sparse music, “Jazz Out of Water” lacked the vivid energy found in the other pieces.

The best one came last. Sidra Bell’s futuristic, vivid work “Mass Observation,” featured an ensemble of high-caliber dancers in precious metal-metallic body suits who processed on either side of the audience—catwalk style. Slithering stealthily in and out of interesting configurations while kinetic techno music blared, the performers fully used the space and their flexible facilities. This dynamic piece must be experienced firsthand for its full effects.

For dancer Robin Albrecht, GS ’13, at least, the three-month journey was worth it. Abrecht said, “Whether we continue in dance as a career or not, it was still a great part of our dance life right now.”