'Catenary' at PS21: Daring us to remember our human connections and support women

Violinist and composer Hannah Epperson and choreographer Rebecca Margolick collaborated on "Catenary," which made its world premiere at PS/21 on Saturday night. 

Merriam Webster defines catenary as “the curve assumed by a cord of uniform density and cross section that is perfectly flexible but not capable of being stretched and that hangs freely from two fixed points” like a velvet rope that swings from two brass stanchions.
 
Based on a work on Saturday night at PS21 Center for Contemporary Performance, a world premiere collaboration between violinist/composer Hannah Epperson and dancer/choreographer Rebecca Margolick, there is also an invisible catenary – one that links humanity. It is no barrier to an entry. Rather if we so chose or pay attention, the catenary, if followed, can lead us to act as stanchions to ease the burden of each other.

The two, along with electronic performer Niloufar Nourbakhsh, evoke that sense in a rattling and poignant exploration of a relationship. The piece starts before the audience is even seated. As people jockey for seats, Epperson and Margolick are standing centerstage, slowly walking in half-circles, with a long cord tied to each of their waists, like an umbilical cord. Inch by inch, they travel a hair farther from each other until their cord pulls nearly taut between them.
 
As they are doing this – one can only hear a heartbeat and an occasion whirl, something like one might hear in a vintage sci-fi film. Could it be the miracle of human development?
 
As Epperson retreats to a corner with her violin, Margolick becomes the focus. She appears a target – arms outstretched toward a glaring light – and then she caves onto herself and flings her body backwards. It happens again and again as if she is the victim of some violence. Then in a convulsive solo, she twists her hand alongside her head – as if realizing something – and then – still bent over – cradles something invisible in her arms. When she finally stops, her fists are clenched.
 
Epperson puts down her violin to come to her aid – placing her body between Margolick and the hammering light. That is her role throughout, helping Margolick to endure her pain. At one point, Epperson rebraids her wild hair after another exhausting, painful incident that could be read as childbirth.
 
Nourbakhsh also took part, stepping out from the audience to walk across the stage in profile. She was holding what appeared to be a baby paunch with one hand as she seemed to navigate an unseen tightrope. The pressure of perfection – as a woman and as a mother – looms heavy.
 
“Catenary” emphasizes the stress women are weighted down with. Their bodies are expected to please, nourish and soothe. But this burden is further strained by the assault on their rights to their bodies.
 
Epperson, Margolick and Nourbakhsh demonstrated we are one, even in divided times; and insist we show compassion. Without it, the link or catenary that connects us will be disastrously severed.

​The 60-minute dance will be repeated at 3 and 6 p.m. today.