Gaudanse explores tentative human connection

“Mamihlapinatapai” was performed by Guadanse on Thursday night at Kaatsbaan Cultural Park. (Photo by Amanda Tipton Photography)

What’s in a word?
 
For choreographer Imani Gaudin, “mamihlapinatapai,” an expression from Terra Del Fuego, there is much – at least enough to inspire the impetus of a work of the same name.
 
As seen on Thursday night at by her ensemble, Gaudanse, at Kaatsbaan Cultural Park, “Mamihlapinatapai” depicts the sensation that one feels when looking into the eyes of another human being, but it’s a connection that goes unspoken of and unacted upon.
 
That’s the start of what becomes something that Gaudin expands into a 35-minute duet, crashing through the stalemate to explore and let mature the tete-a-tete into free play. And Gaudin makes sure the audience feels the force – placing the dancers and the audience close together in a square on the floor.
 
It begins in the lobby of the Kaatsbaan theater with a singer/actor Christian Warner rallying the audience in an old-fashioned revival – one where the notion of God is questioned – not revered. He urges the audience to shout a collective “amen,” a precursor to the link forged in the theater where he ushers in about 50-odd people.
 
What hits the audience at first in the darkened room is the sound of a wind tunnel. It’s a hum surges and heightens the suspension of time and anticipation of what is to come.
 
As everyone maneuvers to a seat, the two dancers (Christian Paris Blue and India Hobbs) are already there, seated on their haunches in the square and staring into each other’s eyes. And then, as Blue moves toward the Hobbs, a hand to a shoulder or to an arm, Hobbs moves that part of herself away. The eyes remained locked, but with every advance, there is a retreat.
 
Though they never touch, these two are in synch. As they move away from each other, they also mirror each moves. They dip, bop and strut loosely, tossing off gestures as if they two are the coolest in the room. And then suddenly, they crack up. One laughs and the other joins in with giggling and guffawing. They now appear complicit in a game, and then they touch.
 
Their duet evolves into a pairing that is no longer a mirror, but grows two individuals who complement or complete until total liberation is achieved – Hobbs hanging from Blue’s arms as he swings her in a circle.
 
The piece doesn’t delve too deep, but it’s pleasant in that it speaks of our humanity, our tentativeness to get involved and the joy that could be had if we did. It’s also a reminder that connection, in this very disconnected world, might be worth exploring.