a reflection by Jez Lee.
Sitting in the small SomArts theater on a cold opening night, I eagerly awaited the show to start. Looking forward to bubbles, twigs, and feathers, as well as an interesting concept noted in the program of three acts; the works (many favorites in the companies’ repertoire) had been reset by way of chance.
Even die hard fans of danceNAGANUMA (a combination of musicians, dancers, family members, and assorted intellectuals) 
would get a fresh perspective on the work. I once performed with the company, and was now sparked by the thought of seeing familiar combinations put to the unpredictable. danceNAGANUMA is a small multi-generational troupe of dedicated performers who rehearse and train with Director Claudine Naganuma in a small residential ballet studio in Rockridge called Danspace. Having worked with the company from 2003 till 2005, I had grown very fond of the director’s rehearsal style and her passion for individualism, professionalism, creativity, and experimentation. Eventually, my desire to express my own voice outgrew the troupe, so I moved on to other performance outlets.
I think back with fondness. Performing with this very diverse crew of talented dancers, ranging from 7 years old, to middle-aged professionals, was fun. Claudine led exercises that challenged our own choreographic options; we drew movement material from childrens’ stories, from dreams, from images of animals and elements. Her own movement material comes from a blend of Classical Chinese dance, Training and workshops from the modern dance masters like Mark Morris, butoh inspiration from the Tamanos, Eri Najima, and Ballet. With this Eastern/Western blend, she adds ghost stories, myths and fables from Japan and Eastern Europe, costume creations from collaborators and her own handiwork, and musical environments from the Piedmont Childrens’ Choir, experimental vocal goddess Amy X. Neuburg, Award-winning Post-Mexican sound architect Guillermo Galindo, and surreal lighting scapes from Dale MacDonald. For a full bio about Claudine Nagauma, check out her biography.
Taking in the experience: THIS IS CHANCE
Part ritual, part recital, the work is at once: beautiful, strange, quirky, innocent, silly, powerful, fleeting, young, magical, provocative, and… friendly. Featured performers were Claudine Naganuma, Amanda Crawford, Sierra Joe Lash, Anna Dal Piño, Gretchen Garnett, Catalina Jackson Urueña, Lucie Jerome, Mana Hayakawa, Aurianne Vacher, Kristin Suko, Erin Landers, Catherine Collison, Auriane Vacher, and Julia Yoshino. It should be noted that even though half of these performers aren’t old enough to drive, they can sure dance up a storm.
Lit very dimly with an infestation of colorful gels and projections of bubbles and zigzags, the company took to the stage, co-existing with the musical and visual elements with movements that were sometimes very dancerly — attitude turns and these dancers have extensions like you wouldn’t believe! Training with Ms. Naganuma has blessed even the youngest dancers’ feet with articulate toes and impressive turnout. At other times, the movement was more pedestrian, bringing the narrative qualities of the choreography to play — a beautiful duet by Anna Dal Piño and Erin Landers was brought to context by moving gestures
and loving glances. Combining costume elements between the two dancers brought images of mother/child, human/spirit, and stages of grief which gave way to acceptance of loss. Other costume effects called to the stage a mystical swamp; creative hats made marsh goblins of the seated, scooting performers.
Over all, the dancers’ ability to be “in” the mode brought the element of chance it’s greatest effect. Within the nonsensical structure of the phrases, performers projected brilliant expressions; a quirky smile here, a faked choking there, a loving blown kiss, an enchanted spell. The ability to stop on a dime, change expressions (and costumes!) from one element to the next, and be actively on stage for almost the entire show makes the cast a rarity in the dance world. The aesthetic of this company is unique and original. Claudine has developed a movement style and signature language that is spoken fluently by this gem of a company.
Hana Hou.
About the Contributor → Jez Lee is a performance artist and from 2003-2007 was the Director of Asian American Dance Performances. Look forward to commentaries and announcements from Jez in AADP’s blog, part of Unboundspirit.org.
