Thea Singer
Bill T. Jones/Arnie Zane Company’s Curriculum II is no intellectual exercise. It is a gut-wrenching journey into the heart of darkness, offset by flashes of compassion and light.
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In choreographer Rachel Linsky’s hands — and the bodies of her articulate, reverberating dancers — you gain both kinesthetic and emotional access to the worlds of those who lived the Holocaust.
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Love, anger, frustration, hope, sadness, lullabies — they are all here through movement that is at turns elegant and awkward, nuanced and propulsive.
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I can still feel the exhilaration, the rush of the opening of things, from that day.
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The 51-minute piece represents a digital time capsule. It comprises 16 short episodes — reflections in movement of lives caught inside the pandemic — crafted by dance-maker collaborators.
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“We will step to the edge of our humanity, expressing the commonalities that we all share, the threads that bind and connect us all.”
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