ADF review: Gripping political commentary from ZviDance

Choreographer Zvi Gotheiner grew up on a kibbutz learning the dabke, a celebratory Middle Eastern folk dance. His New York City-based company, ZviDance, brought “Dabke” to the American Dance Festival Sunday night, a 50-minute modern interpretation that adds gripping political and social commentary.

The Arabic word “dabke” translates as “stomping of the feet,” the core movement in this national dance of Lebanon, Jordan, Syria and Palestine. The Israeli form is a line dance traditionally for men only, performed at weddings and community events.

In contrast, Gotheiner’s version begins with four men, casually connecting and mirroring each other’s steps. Four women variously attempt to join them but are initially rebuffed. The women move away but watch and learn the steps, eventually ingratiating themselves into the male lineup.

From there, the piece alternates between group configurations accompanied by highly rhythmic vocal music and solo turns accompanied by moody, often melancholic instrumental pieces. The dancers constantly move in ever-changing patterns, expending impressive energy as they go from balletic lyricism to sharply angled tension.

When connected in groups, the dancers seem genial and friendly, but their exhilaration is never lighthearted. Instead, there is serious joy, a working out of troubles and difficulties through frenzied exhaustion.

The solo sections are somber and chilling. They reflect sorrow, pain, anger and despair, vividly characterized by body language and facial expression. In one sequence, Chelsea Ainsworth agonizes over the body of Todd Allen, her keening and prayerlike movements expressing deep grief. Allen then rises up, takes off his sweat-drenched T-shirt, boldly brandishing it as flag, veil, prayer rug and projectile. Others imitate him in obvious solidarity.

“Dabke” ends with Kuan Hui Chew’s haunting solo. As the lights slowly dim, she desperately fights against an unseen force, repeatedly falling to the floor but bravely rising again. The lights go completely out, leaving the audience to hear Chew’s labored breathing and feet hitting the floor as she continues the fight.

The choreography references the ongoing conflicts in the Middle East and their devastating toll but also the ultimate resiliency of humankind.

This story was originally published July 13, 2015 at 1:12 PM with the headline "ADF review: Gripping political commentary from ZviDance."