Dancers
Claudia
Hubiak
and
Frances
Sedayao.
Photo
by
Edward
Casati.
Cariño: Economy of the Heart with Anne Bluethenthal
By
Paul
Sinasohn
Published:
March
27,
2008
This dance production conceived and created by lesbian choreographer Anne Bluethenthal is an amazing explosion of movement and rhythm that explores all aspects of nurturing. To Anne, cariño translates as “love, affection, tenderness, and endearment.” All of these nurturing emotions and actions are danced, sung and spoken during the performance.
The show starts with an explanation of the underlying concept: honoring women who achieve the impossible, or even the ordinary, by leading change in a family, local or world community. Women do more than men can ever know — and this is Annee’s key concept — and the value of those efforts is far greater than any compensation could adequately recognize.
Nine parts of the show look at various aspects and representations of women’s activities. Anne uses the pounding of sticks to represent these activities during narrative discourses about some splendid women around the world who have accomplished so much with so little. The dancers cluster and move as a unit during most of these stories, in a display of strength.
One of the more fascinating parts of the creation is titled “Be Breathed,” and starts with a lesson (led by Matema Hadi) on air — how air, though plentiful and free, becomes a commodity and even a source of contention. How often do we give advice about this most fundamental, unconscious and life-sustaining activity, as if it had to be controlled to be meaningful? Why “take” a deep breath when there’s nothing lost after you’ve taken it — theree’s still more air. This lesson of social economy is thought-provoking and a perfect lead-in to the choreography, in which the in-and-out cycle of air is brought to life by the dancers as they vocalize their own breathing. You find yourself holding your own breath in order to feel theirs.
The dancers of ABD productions, Anne, Alyah Baker, Laura Elaine Ellis, Marina Fukushima, Matema Hadi, Sami Knowles, and Frances Sedayao perfectly evoke the rhythms of AJayi Lumumba’s jazz-based music and the recorded and live vocals of Melanie DeMore and Mama CoAtl. Each dancer takes the lead in a different part of the show, further reinforcing the communal aspect of the invisible efforts of women. Sedayao mesmerizes as she leads the corps back and forth across the stage as if searching for something lost. Ellis shines in the Solo portion of the work, gathering, nurturing, giving, and letting go — embodying the cycle of life so that you cannot help but reflect on the women who have played a role in creating who you are today.
And that is the point of this entire work. Everything that comprises the ‘economy’ (as defined in the boardrooms, government halls, and banking centers) is dependent on the invisible efforts of our mothers / partners / wives / friends / daughters who give and give of themselves without getting back anything. I found myself — in the middle of the evening — saying a silent t ‘Thank You” to those who nurtured and supported me as I grew into who I am today. Go see Cariño, and recognize those who made you who you are. Then thank them. They deserve it, and so much more.
Cariño continues through March 29 at Project Artaud Theater, 450 Florida Street, San Francisco. Tickets ($10 to $25; cash only at the door) are available online at www.brownpapertickets.com <http://www.brownpapertickets.com> or at Modern Times Bookstore, 888 Valencia Street.