September 17, 2021 was Day 1 of Salvage, a three-night collaboration between Mile Zero Dance and the Lowlands Project Space.
The Lowlands is a unique venue: the back yards of two adjacent bungalows in the Highlands neighbourhood of north Edmonton. Several pieces of installation art were set up in the adjoining back yards. They also set up three formal stages. One traditional one in one yard; one wrapped around a tree between the two yards; and a round stage in one of the front yards.
However, the performers on the first night defined other performance spaces: on lawn, on a cement walk, in a patch of dirt, around a fire pit.
The first work was a solo performance by Jason Romero, set to recorded contemporary music from around the globe. It was a sensuous, grounded performance. At one point, he was seen through colourful hanging window frames of an art installation. At another, he danced on a patch of fresh soil that my friends and I had avoided stepping on, lest it had been newly seeded. Instead of being a garden, it was actually a stage for Romero, who who danced on and in the patch, coating himself in dirt, flinging it about, either to shake off excess, or to share its richness. No matter where he performed, or the genre or language of music, Romero’s movement vocabulary seemed to communicate who he is in this place at this time.
The second work was by dancer Katherine Semchuk with musician Julian Anderson-Bowes. They combined dance improvisation and jazz improvisation in a performance which started on the front yard stage with a table and chair, to the middle of the yards around a fire pit, to the back of one of the yards on a formal stage with light sticks. They defined space and spatial relations throughout the set. Because there was no fixed seating, we were able to follow them from staging area to staging area, often being close enough to watch the pair watch each other as they improvised. They started low-key, but built up to a spectacular end, as they moved from no light to fire light to electric light, and as Anderson-Bowes’ music went from acoustic to electronically processed. Semchuk’s performance was bold throughout, but became epic–one could say incandescent–by the time she wielded lightsticks like ancient weapons.
This was the first live dance performance I’ve seen since February 29, 2020. It was a spectacular evening of art and dance, made all the more memorable by the mild autumn weather and the opportunity to see friends and artists I haven’t seen in person in 18 months.
Day 2 and Day 3 of Salvage are on tonight and tomorrow afternoon. If you can’t make it to the venue, you can live-stream them. That’s what I plan to do, and I can’t wait.