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“Mozart as Mason”; “Images from the Embers”
Dana Tai Soon Burgess and Co.
Beyond the Waltz: Austrodance Festival 2006
Embassy of Austria
Washington, D.C.
November 7, 2006

by Naima Prevots
copyright 2006 by Naima Prevots

Austrodance 'Festival 2006 ended with a performance at the Embassy of Austria. Here, the Washington-based choreographer Dana Tai Soon Burgess showcased a world premiere, in which he honored Mozart as composer and arranger, successfully setting a new direction as a choreographer inspired by music more than stories. Mozart as Mason was set to the composer’s arrangements of Bach, and to one of his Divertimentos. Burgess established a formal environment reminiscent of  court settings, but infused the movement with sensual hip thrusts, angular torsos, and languid arms. The evening began with Images from the Embers, premiered March, 2006 at Lisner Auditorium. Seen in the more intimate space provided by the Embassy, the work has strong moments but seems too long and lacking in focus, especially in the beginning sections.

Burgess exhibited a lovely feeling for Mozart as dancers elegantly walked on stage carrying white chairs, setting them down lovingly at the four corners of the dedicated space. The dance proceeded to unfold in four sections, as if the placement of the chairs each signified a section of music, and the entire piece had the feeling of being framed in the past but existing in the present. The total effect was enhanced by the all black costumes  (with the exception of two dancers whose tops were in dark burgundy). They provided a courtly but contemporary quality, with see through material for long and short outfits from the waist down, and small bows at the waist.

The first section consisted of six dancers with lyrical arm movements and a bowing motif, with a nice distortion of side leaning rather than center. The second and third sections were duets, and continued the emphasis on a soft and sensuous reading of the music, while maintaining an overall courtly elegance. The last section was the most interesting, with a circle of all the dancers as  major image and motif. The circle was not constant, and was broken up by single and double lines, and close attention to the phrasing of the music. I was disappointed that Burgess did not stay with the circle motif longer, and allow it to be explored more fully. He does seem to have a tendency to bring in many ideas, and sometimes not staying with those he has established and could develop further. Burgess used the following music for the piece: Mozart/JS Bach Preludes and Fugues (K404a) and Mozart Divertimento in E (K563).

Burgess’ piece Images from the Embers  is an hour-long work that, in his words, poses a primary question: “Can the human psyche recover from the trauma of war?” He notes that he designed the work “as an unraveling mystery in response to this question. The dance is set in the murky, symbolic world of the subconscious, as a middle-aged woman looks back at her youth and an unrequited love. Even after death a lifetime of memories lingers, at times burning brighter than present realities.” This is complex material, and Burgess would do well to consider delving deeper into some of the ideas and images, to give us more of a hold on what he is trying to say. Much as in the disappearing circle in the last section of his new Mozart piece, I find that important material disappears too quickly in Embers, and we are faced with new information that does not allow for emotional continuity and exploration.

In the beginning of the work, we are introduced to the major players and themes. We see two women in orange dresses; a woman dressed in black and representing the figure of death; a young man; video images of soldiers; and images of people writing as well as stacks of telegrams. The two women represent present and past: an older woman recalling her young love, and the duets and trios that take place create the stream of consciousness of remembrance, pain and reality. The figure of death interweaves throughout the piece, but seems to have no real choreographic motifs and a great deal of superficial gesturing and grimacing. The through line of writing, letters, and at the end a large projection of telegrams sent announcing death in battle, creates an excellent sense of continuity and provides much of the emotional charging.

While the first part of the dance takes a great deal of time to unfold, with more posturing than movement invention, towards the end the message becomes clearer and  themes take on more meaning. The video shows planes flying in menacing fashion; typewriters and messages of death; women with real typewriters and war helmets; lovers in sorrowful and gentle embraces; and large paper scrolls thrust across the stage, with dancers writing on them. It is towards the end that Burgess integrates the powerful messages he wants to convey, juxtaposing love with war, memory with loss. A large parachute covers all the dancers at the end, and they come out from under. Death is on the side, a letter is being read, and while the memories linger, perhaps there is hope for the future.

It was good that Burgess honored Mozart at the Embassy of Austria. The evening was both a fitting tribute to the occasion and place, and a good direction for the choreographer. The stage had to be created in the large room of the Embassy for Embers, and the audience was very close. It was good to see this piece again in another environment, and it clarified the strengths and weaknesses of such a major undertaking with far reaching themes. Burgess did not perform on this occasion, and the company dancers were good to see in both pieces: Katia Chupashko, Connie Lin Fink, Sarah Halzack, Miyako Nitadon, Leonardo Giron Torres, “Tati” Maria Del Carmen Valle-Riestrra, Kelly Moss Southall, Kathleen Weitz. As the last performance of Austrodance Festival 2006, Burgess provided the audience with an homage to history, and a fusion of past memories with dreams for the future.

Photo: Dana Tai Soon Burgess and Tati Valle-Riestra in "Images From The Embers." Photographer: Mary Noble Ours

Volume 4, No. 40
November 13, 2006
copyright ©2006 Naima Prevots
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