Addison — With only flesh-toned G-strings and dance belts covering their lower halves, one by one the dancers run into the space and execute an upper spinal curve that accentuates the muscular lines of their chests, thighs and glutes before being pulled off stage by some invisible force. This back and forth continues until, suddenly, all the dancers run on and form a circle in the right, upstage corner. Standing shoulder to shoulder the dancers remain motionless except for the heavy rise and fall of their bare chests and their eyes, which are actively searching the space.
This is just a taste of what New York-based Choreographer Sidra Bell has in store for Dallas audiences in her new work Nervosa, which premieres at Dark Circles Contemporary Dance’s Spring Series this weekend.
Bell is one of the hottest names in the dance world right now thanks to her unique style, which explores bodily forms through the modular lenses of flesh, bones, nerves, memory, site and history, according to her Web site. Her knowledge of visual art also plays an important role in her creative process. Bell’s work has been seen throughout the U.S. and abroad, including Sweden, Denmark, France, Germany, Slovenia, China, Canada, Korea and Brazil. Her company, Sidra Bell Dance New York, has rapidly garnered an international profile for work that reveals aspects of the human condition through a distinctly female lens.
After watching a run-through of Nervosa in February at Preston Center Dance, Bell sat down to talk with the small audience that was there about her creative process for this piece and answer any questions we might have for her.
Bell starts off by telling us that Nervosa is about making you and making me in two parts and is housed within a much longer work that her company is currently working on that focuses on the nervous system and how it affects the way a person feels and moves. “The piece is about relationships and what it means to really feel someone,” Bell says. “It’s also about what makes the nervous system tick and sensing the people around us with our eyeballs and skin.”
This statement definitely brings more clarity to that moment where the mostly nude dancers are standing in a circle watching one another as well as the following duet where Eric Lobenberg slowly walks around the space with Victoria Daylor draped over his shoulder. This is an extremely raw and tender moment between the couple, which thankfully isn’t diminished by their nudity; something Bell was hyper aware of when she made the decision for the dancers to be mostly nude for this part of the dance. (Note: The dancers wear black and gray long sleeved-unitards for most of the work)
“It was a late decision,” Bell says about the nudity. “It was made in an effort to export more of the human experience. The nudity in the duet feels natural and more innocent and does not conjure violence. It also brings attention to the lines of the body.”
“She made the decision with 30 minutes left to the end of our rehearsal the day before the preview,” Daylor says. So, we did it again with nudity and it just completed the work.”
Regarding the nudity in the duet Daylor says, “When Eric is holding me it feels comfortable. I feel close to him. His body feels like a layer of clothes against my back. I actually feel more vulnerable in the first part of the duet where we are not touching and the wind on my skin reminds me of my nudity.”
And as for working with Bell, Daylor says it was a wonderful experience and she was pleasantly surprised with how much personalized time Bell gave to them. “She gave us very individual things to work on that were not just about the choreography, but also things to help further our dancing going forward.”
Daylor uses her solo at the beginning of the dance as an example. After the group disperses, Daylor starts walking around the space and stops occasionally to contract her chest, which then ripples down into her hips and legs. Her movements remain fluid and evenly paced even when Nick Heffelfinger enters and begins convulsing on the ground.
“She gave me advice on things to do with my focus. She told me to think about the muscularity of my eyes and how deep set they are in my face. She also wanted me to be seeing everything around me in a way that is energetic.”
When I asked her if Heffelfinger’s frenzied movement ever made her lose her focus Daylor laughingly said, “I actually have no idea what he does because I am in my own world. For me, I am just here on earth and he is something on another planet and maybe we collide at some point, but I can’t give him too much attention.”
As for the control and stability Daylor exudes in her solo she says she has to give some of the credit to her outside training in the Gyrotonic method. “It has really helped me with my focus and stability of my breath when I’m dancing. Underlying it with my dancing has given me a good base.”
You can catch Daylor and the other members of Dark Circles Contemporary Dance in Bell’s Nervosa at the company’s Spring Series, March 22-24, at Addison Theatre Centre. The program also includes the premiere of Joshua L. Peugh’s Dialogue featuring Tejas Dance, a local Bharatanatyam Indian classical dance duo.
» Katie Dravenstott is a freelance writer and dance instructor in Dallas. Visit her blog at www.kddance.wordpress.com