The Power Rituals Of Dance

By Lewis Whittington, For The Bulletin

On a gray January day at the Chi Movement Center in South Philadelphia, members of Kun-Yang Lin/Dancers (KYL/D) were only halfway through a full day of classes and rehearsals, but still had energy to burn.

The troupe was about to run through “A-U-M” and “Chi,” two of four works to be performed as the company’s first full program presented in Philadelphia at the Painted Bride Art Center.

Mr. Lin, choreographer and artistic director, cues the dancers as they drop to a meditative pose, their breathing the only sound in the room until a recorded sound field floats over them. The piece has a transcendental feel, with yoga poses and tai-chi moves, contrasting Mr. Lin’s communal formations with chaotic movement. The company’s executive director, Ken Metzner, sitting off to the side, is Mr. Lin’s life partner. He joins in on the meditative instructions called out by the dancers.

A-U-M “absorbs yogic movement,” according to Mr. Lin, so the poses do not look inserted and the work has such serene drive that you are not aware of time.  The dance is meant to draw on the dancers’ skill and inner peace, to build the troupe’s communal strength in a frantic world.  Its effect creates a hypnotic energy field for the dancers and, eventually, the audience.

READ FULL STORY AT THE BULLETIN

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