Back in May, Allison gave me this beautiful Cedar Lake poster (of dancer Ana-Maria Lucaciu, photo by Paul B. Goode) as a birthday present. It’s now framed and finally hanging in my apartment. I love the photograph, and Ohad Naharin’s Decadance has been one of my favorites since seeing it last January. Oddly enough, in an article on (re)defining beauty in this month’s Dance Magazine, Cedar Lake dancer Heather Hamilton discusses what it’s like to work with so many different choreographers. She says, “The process with Ohad Naharin was like someone cracking my head open. I love to work one on one with a choreographer. I wouldn’t give that up for anything. To be created on is what’s beautiful for me.”
This month’s Dance Magazine also features Cedar Lake dancer Jon Bond in “On the Rise”. Besides discussing his childhood and background in dance, author Lauren Kay describes his solo in Decadance:
A lone dancer remained onstage – the exquisite and quirky Jon Bond. Although at first he stood still, grinning at the bewildered onlookers with a hint of mischief, soon he began gyrating, wiggling, and twisting. As the solo continued, his ultra-flexible back undulated with unencumbered joy until he exploded with grand battements that reached above his head.
Cedar Lake’s artistic director Benoit-Swan Pouffer praises Bond in the article for his “ballet bottom with a modern top” and his “sense of humanity and fragility”. Perhaps these last two quotes can be applied to Cedar Lake as a whole. The company is clearly rooted in ballet, but is much more contemporary on the surface, and pieces like Jo Stromgren’s Sunday, Again definitely convey a sense of humanity and fragility that is inherent in the dancers as well.