by Angela Fegers
I arrived at Hosek Contemporary on a sticky and still Berlin evening to witness the work by two talented and emerging choreographers Alishanee Chafe Hearmon (NYC based) and Fox Conner (Berlin based). The duo brought on Zaher Alkaei and Nabil Arbaain to accompany the dance piece set to premiere, STALK OF THE GRAIN with live music and Lukas Oppenheimer to set the mood with lighting design.
I made my way to the ancient barge, a boat that hosts artists by providing a gallery on one side and a small theatre on the other, I was greeted by a wispy character who upon checking my ticket administered a compulsory ablution of orange blossom water, dousing my palms several times from a brass flask before ushering me to the performance space.
I wondered, was I going to a religious ceremony? Or a dance performance?
Descending the splintery staircase into the penumbrous dim of the theatre, already packed with bodies murmuring, I began to smell something dark and earthy: smoke rose from a small censer in a corner, while fresh hay was scattered upon the floorboards. Snagging the last empty chair downstage right, the room fell quiet as two dancers marched soberly onto the stage barefoot and dressed in threadbare garments. The stage was empty except for a white sack which hung from the rafters by a rope and two musicians who sat in shadows cradling their instruments. For several minutes there was silence except for the creaking planks of the barge.
Something was about to begin.
The dancers began to instructively introduce a lexicon of gestures which were later to be repeated throughout the entire piece. I immediately recognised repetition to be a central motif in the choreography.
What were they going to say to us all night, over and over again?
Unexpectedly, one of the performers dons a blindfold; the sack is gauged with a dagger and grain begins to spill from it like sand passing through an hourglass. The stab at the bag mimic was nothing less than a genius dramaturgical power move made by the choreographers. The act and gesture immediately magnified the essence of the work as a dark novella disguised as a movement score which was to unfold before our eyes.
For almost 20 minutes, we hear only the sound of falling grain, footsteps, creaking wood and the breath of the dancers. The two performers take turns leading and guiding one another- highlighting themes of following the leader and sheep following their shepherd. Roles are reversed repeatedly.
The quivering voice of a violin begins to quicken the development of movement onstage as the two bodies eclipse and enter a ritualistic pas de deux, the section reminded me of the German Ausdrücktanz period. Movements were repeated with mounting tension and effort, now joined by the strings of an oud, until they crashed into an abrupt halt, leaving two heaving bodies who briefly gaze at one another with confusion, longing, dread... Before they submit themselves to the next stage of their choreographic rite.
The ‘rite’ followed the structure of an opera or epic play sans satire and complete tragedy. I hadn’t seen something so structured in Berlin - maybe, ever and was intrigued by the background research on movement, sound and dramaturgical development that the choreographers invested into their work. Visions of classical icons like Graham, Bausch, Laban- filled my imagination as I watched the work- I wondered where this powerful pair would end up in ten years, twenty years, thirty… my bets were quite far and inspiring.
Sections of unison dancing were cleverly placed and well rehearsed between the opening, climax and descent of the work as an entirety. Something I also don’t witness too often in Berlin so it’s always a pleasure to see bodies truly focused on dancing with ensemble ethics.
Clear and well rehearsed material, sweat and passion dripping from their extremities. This was the real deal. I was completely shocked and overcome with passion. I didn’t sit alone with these thoughts. An elderly couple sat to my left, a man and a woman. The man reached for the woman’s hand as she gently wiped a tear from her face. I watched as the elderly man comforted the woman, a clear companionship, motifs on the stage mirrored this relationship next to me in the audience.
Stalk of the Grain was a delight to witness- full of emotive movement and gestural research, paired with intellectual foundations, thoughtful tenderness and supportive musical collaborations to highlight the choreographic score. The evening was self produced and created by Alishanee Chafe Hearmon and Fox Conner all proceeds were donated to Yazan’s family the gofundme is still open and accepting further contributions.
Learn more about Alishanee and Fox by getting in touch with them here.
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