Dance review: Co.ERASGA's Passages of Rhythms is a cross-cultural conversation
Fusion of duets features bharatanatyam, flamenco, vocalization, and contemporary dance
Alvin Erasga Tolentino (far left), Sujit Vaidya, Kasandra “La China”, and Gabriel Dharmoo. Photo by Yasuhiro Okada
Co.ERASGA presents Passages of Rhythms at PAL Studio Theatre May 19 and 20 at 8 pm
IN CELEBRATION OF Asian Heritage Month, Co.ERASGA offers Passages of Rhythms, a cross-cultural exchange of dance dialects.
Company founder Alvin Erasga Tolentino fuses three diverse duets, the evening opening with bharatanatyam artist Sujit Vaidya in a flaxen ankle-length garment and traces of gold glitter smeared over his body. His hands are as entrancing to watch as anything else, fingers seemingly bending backward or fluttering as if they’re creating the shimmery sounds of percussionist Ronald Stelting’s chimes. At times, the dancers mirror each other; elsewhere, Tolentino offers sharp, martial-arts-inspired movement as a counterpoint to Vaidya’s sculptural embellishments. Whether through the rhythmic pounding of their bare feet on the floor or the way they turn in circles arm-in-arm and eye-to-eye, the two convey a tender connection. Stelting’s playing of djembe drum, gong, crystal bowl, and more add texture and warmth.
Flamenco maven Kasandra “La China” lends an entirely different mood, dressed in a poppy-red pantsuit with lipstick and shoes to match, snapping open a canary-yellow hand fan that becomes an integral part of the choreography: she flaps and swirls it butterfly-like around Tolentino’s body; he opens up another one only to prop it on his head. There’s playfulness throughout, but Kasandra “La China” is dead serious when she ramps up her footwork to a rapid-fire pace. Just as Stelting’s instruments seem to be having a conversation with Tolentino and Vaidya’s gestures, so too do those of percussionist Jonathan Bernard, whether echoing Kasandra “La China”’s rat-a-tat-tat stomping or responding to it. The image of Tolentino swinging two fans adorned with rippling, shiny-red fabric up and down as his partner propels her feet ever faster is memorable.
These two sections of Passages of Rhythms showcase exquisite dance performed by masters of their craft and illustrate the way contemporary choreography can harmoniously complement and contrast styles that are rooted in tradition. The final duet is altogether different, with Gabriel Dharmoo and Tolentino employing vocalization as the key choreographic driver; it is the evening’s least inspiring in terms of movement. If you've ever wondered what kind of weird and wonderful noises the human voice can make but were too afraid, embarrassed, or forgetful to find out, these two do it for you, whether grunting, screeching, psssst-ing, or making just plain silly sounds that draw giggles from the audience. At times they seem like kids enacting Star Wars or some other action adventure; at other moments, their steady sounds seem to heal. Their deep breathing, guttural notes, and wide-mouthed wails, however, are occasionally too close for comfort within the intimate confines of the PAL Studio Theatre. As Dharmoo howls in distress even after exiting the stage, we do not go quietly into the night.
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