Representing nine religions the group performed Tai-Chi in an homage to integration.
I was first introduced to Seán Curran’s choreography while studying at American University. While the title of the ballet is not etched into my memory, the contrast of carving arms and quick footwork that were held in the grip of some classical ballet vocabulary never left my memory. Years later I was eager to revisit the visual pleasures of Curran’s robust choreography, hoping to relive his nuanced accents and careful attention to musicality.
Presented as part of Dance Affiliates’ NextMove series, Seán Curran Company energized the Philadelphia audience with two works designed to showcase the technical versatility of his dancers as they used their athleticism to accentuate subtleties from each musical score.
Opening the show was Social Discourse (2007), which was a colorful display of bodies in motion. An illustration of Curran’s choreographic aesthetic, Discourse combined his familiar wavy torsos with geometric lines to emphasize movement opposition.
Moving with detailed specificity, the dancers in Discourse swirled to the driving musical composition of Thom Yorke and Radiohead, with speedy determination. Their buoyant leaps and intimidating inversions always settled into a vertical grounded position with an assertive pedestrian disposition. Read more.