By Glynn McKee for The Dance Journal

One thing Jumatatu Poe does well is create complex physical and emotional relationships. His latest work, Flatland (presented in 2-D), comes across as a reaction to the digital age as well as a critique on the disconnectedness of human interactions in this highly connected world. As the all-star cast of performers move across the shifting landscape specific duets capture my attention in their unique portrayal of relationships.

Flatland (presented in 2-D)

A Women’s Sexual Boundaries

Shavon Norris and Willie Brown are framed against the concrete wall by a spotlight which is adjusted manually by lighting designer Leigh Mumford. They look uncomfortable, negotiating each other’s bodies as they change position, sometimes ending with their pelvis locked together only to shift into their own space again.

Two dancers watching on the edge add a perplexing narrative to the duet. One dancer keeps repeating the mantra, “She had what she wanted, but he wanted more.” Immediately, the movement takes on new meaning. I see Shavon’s desire for Willie when she lifts his shirt to expose his back or stomach, but also her discomfort when he returns the gesture because she always pulls away, tugging down her shirt.

The second dancer watching adds another layer of meaning when she rephrases the mantra in her own words.  The slightly different words chosen alter the original phrase and the first dancer has to repeat, “No that’s not what I said.” Like in the movement, the dialogue presents miscommunication between the speakers in which one statement is interpreted by the other differently.

On a Different Wavelength

Another duet by Greg Holt and Karama Butler reveals a facet of disconnectedness. Throughout the duet, Greg’s movement shifts slightly and ends in angular poses. Karama, on the other hand, creates a high energy backdrop by constantly jumping. When the two come into contact, the connection is stilted; Karama bumps into Greg’s stationary angles and Greg is jolted from the contact. It is almost as if the two dancers are not on the same wavelength emotionally.

Nonetheless, when Karama jumps into Greg’s arms and he sincerely holds her against his chest, the image is quite moving not only for the genuine human contact, but also the quiet relief from Karama’s jumping. The movement choices by these two dancers are very unique and responsive to the idea of missed interactions.

A Mixed Race Company

I also would like to applaud Jumatatu’s casting choices. Often mixed race companies play the color blind card in duets and group work, ignoring the meanings attached to dancers’ bodies and the narratives created as a result. For instance, the duets danced by Maya Johnson and Justin Bryant and Shavon and Willie appear to me to be tackling romantic issues directly connected to their female-male identities. A mixed race coupling would have complicated these investigations by adding another layer of power and social dynamics.

For instance, in Maya and Justin’s duet the two dancers alternate between a push and pull struggle that is highly athletic to putting on fake smiles while holding a picturesque pose. Interestingly, neither dancer is dominated by the other; they are both strong players in this relationship. As a result, their physicality, to me, reads as the couple’s bursting sexuality struggling to conform to a societal norm.

In the one male-female coupling that is mixed race, as in Greg and Karama’s duet, the movement is childlike with Karama jumping insistently around Greg. Consequently, I read the actual contact, when Greg holds Karama against his chest, as platonic rather than romantic. Additionally, Greg’s gaze is introverted and calm, lacking any extreme emotion, which deters me from placing a romantic narrative on the two dancers.

We’re all living in a digital world

The final image of Flatland (presented in 2-D) is a silhouette of Greg center stage with the cast lined up along the back wall of the theater. Although the cast’s features are distinguishable in the light, their distance from Greg, who is completely alone, reflects the anonymity available in the highly connected digital world.

Remembering the past duets, I am affected by Jumatatu’s portrayal of deteriorating personal interactions and fake personality displays that I have witnessed in my own life. Using the medium of dance, where bodies collide on stage or sometimes are even in the audience’s personal space, provides a sharp contrast to the safe distance of the computer screen. Although highly abstract and inventive, Jumatatu’s intimate and complex choreography is an accurate representation of the impact of a digital lifestyle on relationships.

Flatland (presented in 2-D)
IdiosynCrazy productions
Directed by Jumatatu Poe
Performance Garage, Philadelphia
Sunday, October 4^th, 2009 7pm
Performers: Willie Brown, Lindsay Browning, Justin Bryant, Karama Butler, Danielle Currica, Greg Holt, Maya Johnson, Shannon Murphy, Shavon Norris, Gabrielle Revlock, Michele Tantoco