BODYTRAFFIC tells stories through dance
Dancers convey wide range of emotions, defy gravity
BODYTRAFFIC, a Los Angeles contemporary dance company on a mission to bring dance and love for the art form to the world, brought a cinematic translation worthy of Terpsichore to the stage of the Miller Center for the Arts in Berks County recently.
With no dialogue to progress the narrative, the dancers defied the laws of physics to tell three sepa- rate stories. Using only rhythmic movements reflected by the mu- sic as their foundation and loosely constructed storylines, the dancers painted a picture of the human condition.
Combining music and physical self-expression, the artists seemed to float effortlessly above the stage while they explored several thematic elements with a wide range of emotions.
For one piece, dancers formed a human train, with arms and legs of different ethnicities and colors moving in unison, a metaphor for racial equality and social justice.
“The content of our work is very expansive, diverse and often has a specific narrative, idea or intention that is communicated through the movement in our bodies,” said dancer Tiare Keeno. “Every time we perform, my goal is to communicate something with the audience and share the choreographer’s vision with the utmost integrity. I hope that each audience
member walks away feeling inspired, enlightened, entertained and perhaps gains a deeper curiosity about this art form.”
Birth and death were pondered and explored as Peggy Lee’s “Is That All There Is?” played. Heavy piano keys sound off with each graceful ballet step, provoking thought about this thing called life, where we come from and where we go when we shed our mortal coil. A solitary dancer glides across the stage, finding her way to a single ray of light, and the point is made with the precision of a surgeon’s knife. We are all in this together, and dance is both a gift from the heavens, and our way of expressing joy, despair and selfawareness.
In another piece James Brown’s “It’s A Man’s, Man’s, Man’s World” plays while the defiant choreography on stage diametrically opposes
the cultural mores espoused by the song, an idea that resonated with me as a young female.
“The music we use is usually decided on by the individual choreographer,” said Keeno. “They will often choose music or a music artist that will help solidify and enhance their vision.”
Keeno sheds light on the adversities and rewards facing dancers.
“Challenges are different for every dancer and artist. But for myself, as I’ve navigated my professional career, I often find it challenging to remain grounded in my integrity when making choices for my career. There are so many avenues to explore as a dancer (theatre, Broadway, commercial, choreography, contemporary companies, etc.) and the abundance of options can be overwhelming,” she said. “But I always remember that no choice is permanent and
there is space for everyone to pursue exactly what they want.
The biggest reward for me as a dancer is being able to connect with and meet so many inspiring individuals. Whether they’re an esteemed choreographer, one of my extremely talented colleagues, an eager audience member, or an aspiring young artist, I find it very fulfilling to learn their stories and share the beauties of the human condition through my passion.”
A dancer since age 3, dance has always been a part of Keeno’s life and believes arts education can have profound benefits in a child’s development.
“As a performing artist, music has always been an important element in my life and consequently, I fully believe in the essentiality of music education for youth,” she said. “Students learn rhythm, coordination,
creativity, strength, collaboration, and most importantly, it gives them an opportunity to fully express themselves and find their own unique voice.”
Her advice to youth is when told no, let it be an inspiration to turn it into a yes.
“Take smart risks, whether it works or doesn’t, you’ll always walk away learning something about yourself.”