Dance Review
Delfos Danza Thrills in Dance Center Showcase By EMILY DISHER
34•CNCJASummer 2013
crucifixion imagery, and visible struggle are an incredibly powerful combination. 1997 National Dance Award winner, “Del amor y otras barbaridades” serves as the evening’s dénouement, and is a realistic and moving depiction of relationships. “Del amor” covers a full range of emotion, including the deep sadness of losing a partner. Despite raw sexual movements, sexuality is never gratuitous, but directly feeds the cohesive passion of the work. The desperation, physical attraction, and losses enrapture the viewer and take them along for the, at times, difficult ride. I have never seen a series of relationships so beautifully orchestrated on the dance stage as Ruiz has done with this work. And Carrum, Lavista, Surasí Lavalle, Agustín Marinez, Millán, and Aura Patrón, epitomize the gumption, maturity, and pure artistry that distinguish Delfos Danza. The program also featured works choreographed by company members Carrum and Lavista. Carrum’s disturbing “Instersticio” uses inventive multimedia effects designed by the choreographer to highlight internal struggle. In this solo work, dancer Johnny Millán is at one moment spastic, the next, languid in movements that suggest insanity. Conversely, Carrum’s quick, quirky piece “Estuve Pensando” (“I was thinking”), offers sharp vignettes of a relationship, complemented by playful narration. Lavista’s earthy “Resonancias” and “The Raft of Sand” were also presented during the program. Lavista reveals her knack for layering in “Raft of Sand.” She builds on the rhythms and cadence of the music with exceptionally creative movement. The physical demands of the piece feel exhausting just watching, although the dancers do not show it. Delfos Danza Contermporánea maintains a rare depth of talent for story-telling and emotional communication among its dancers and dancer-choreographers. One leaves a Delfos Danza Contermporánea performance feeling thoroughly enriched. Photo byMartin Garcia
April 4, 2013—Delfos Danza Contermporánea is a modern dance company of truly passionate and spellbinding storytellers. Celebrating their 20th anniversary season, the company graced the stage at The Dance Center of Columbia College April 4-6, presenting an unforgettable program. Delfos Danza is not afraid to take risks, and in doing so, they astound the viewer with the rich, emotional complexity of their repertoire. Their April 4th performance opened with “Trío y Cordón” (“Trio and String”), choreographed by Claudia Lavista and Victor Manuel Ruiz, comprised of three topless dancers donning strategically placed body paint and broad skirts made of accordion-folded brown paper. When dim stage lighting commences the work, the dancers look like life-sized paper mache angels. The opening actions occur in complete silence, accentuating the contrast between fluid body movements and harsh, crinkling costumes. An imaginary string guides the interactions between two females (Aura Patrón and Claudia Lavista) and one male (Omar Carrum). In this illustration of a subtle seduction, the Patrón, Lavista and Carrum enrapture the viewers, moving so gracefully in their unusual attire. “Trio y Cordón” set the evening off to a strong start, but “Jauna,” choreographed by Michael Foley, and Victor Manuel Ruiz’s “Del amor y otras Delfos Danza Contermporánea barbaridades” (“About love and other calamities”), were the program’s great masterpieces. “Juana” features the awe-inspiring Carrum in a gorgeous, yet gut-wrenching expression of introspection. The lighting fades in on his chiseled back, as he faces away from the audience, clad in a huge, flowing black skirt. The movements begin with feet planted, arms and torso telling the story, but soon evolve into a gorgeous series of liquid motion featuring that billowing skirt, which alternately constricts and releases its wearer. The work has an ecclesiastical air, danced to "The Lord’s Prayer" sung in Latin (“Pater Noster”) and set to music by Richard Einhorn with Anonymous 4. Carrum’s beautiful movement,