BWW Reviews: Hofesh Shecter Gives Master Class to Promote Sun World Premiere at BAM

BWW Reviews: Hofesh Shecter Gives Master Class to Promote Sun World Premiere at BAM

Hofesh is a seriously cool guy. Normally I subscribe to the Oscar Wilde School of art criticism, but in this special case, the person behind the art is worth a mention. In a world that is often both glamorously and infamously depicted with power and fame hungry choreographers/directors lording over desperate dancers reduced to human body-things, Hofesh's warm presence is calming in its quiet power, exacting in its purpose without a totalitarian bent. Granted, I've only danced with him for a total of perhaps 6 hours over the course of 4 years, but I stand by the assessment. Hofesh Shecter is really, really cool.

Last week Hofesh Shecter's Sun, a new evening length work, made its United States premier at BAM. He also brought a master class to the

Mark Morris Dance Center that Friday for a couple dozen eager and lucky (the class sold out quickly) professional dancers. Many contemporary choreographers use lofty, cerebral images to get their dancers to exist in a world where the physicality of the movement makes sense. We have to transplant our bodies into the artist's headspace, and it takes some creative vocabulary and imagery to get us there. A defining feature of Hofesh's pedagogy was how he used the imagery quickly - "Imagine the floor is made of chewing gum/there is a string attached from the palms of your hands to your navel/it should feel as though your feet are very round" - before reminding us sharply that, "This is not just philosophical."

All too often contemporary choreography can feel, in practice and performance, like a far away thing not to be touched or experienced fully. Even more refreshing than Shecter's easy presence is his insistence that we, as dancers, fully experiment with our bodies while using our imagination - to find a place where the theoretical meets practical. His technical style relies on keeping the core of the body, from pelvis to chest, very soft and open while letting the extremities reach, pull and explore space. What a feeling to let one's feet decide where the body should go and to be truly surprised by the results. This takes a good bit of un-learning, as the softening of the core is completely antithetical to, let's see, ballet, Graham, Horton and Cunningham technique, to name a few big ones. A basic tenet of the Hofesh movement style is relaxation. "The more you relax," he repeated throughout the class, "the more power you have." After a strengthening and stretching exercise that loosens the hip joints as they sit in the pelvis, we were wisely informed that now we needed only to keep our chest open. "And there's no exercise for that," Hofesh said smiling, "besides love."

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Katharine Morales Katharine is a Southern California native now based in Brooklyn, NY as a writer, dancer, photographer and performance artist. She has performed in New York City with The Odyssey Project and Artichoke Dance Company, and had works published with GLASS Quarterly (The Urban Glass Arts Quarterly) and music website Musically, she writes and records her own works as well as working with producer and song writer, Rusty Lemorande on his projects. Katharine holds a B.F.A. in Dance from the California Institute of the Arts.