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-- Joseph McLellan
Meisha Bosma's 'Blind Spot'
Turn around and look closer, admonishes choreographer Meisha Bosma in "Blind Spot." In this 45-minute work, the dancers in the cast do both to confront forces that pull at them from overlooked places.
The latest incarnation of "Blind Spot," performed Sunday at Black Rock Center for the Arts in Germantown, showed that Bosma prizes reexamining her own work (a laudable quality in a young choreographer), having retooled the piece's ending to better incorporate filmed components.
Bosma revisited several themes in the course of the work. Each dancer looked inward, searching to find himself or herself in the movement, palming legs and torsos to reestablish a physical identity. Each woman danced amid the tugging grasps of the others, often pairing in almost violent, manipulative duets that culminated in a sequence in which five dancers surrounded the sixth, her shoulders rising as they spat demeaning remarks at her.
Bosma's movement paired this aggression with a lush femininity, undergirded with consistent drive, particularly those sections danced to a recording of Philip Glass's pulsing synthesizer. Yet she also used stillness effectively, as in a segment in which a film of Bosma struggling with a male dancer was played as Bosma stood onstage watching, fingers barely twitching. In another duet, Bosma explored how two people battle over space and for power, the dancers sculpting and shoving each other to spoken poetry by Sylvia Plath.
BosmaDance features strong, technical dancers; Eileen Schwartz and Bosma stood out for remaining compact and tight without sacrificing elongation. The program also included Schwartz in the solo "I Love, I Don't" and Katrina Toews in a voyeuristic adventure, dancing before a warped mirror image of herself.
-- Clare Croft
