R E C E N T R E V I E W S
Nature, Opaque and Mysterious, in All Its Seasons
Zendora Dance Takes a Firefly's View at BAM
Four of the five sections of "From a Firefly's Eye," a suite of dances presented by Zendora Dance Company at the Brooklyn Academy of Music's Fishman Space over the weekend, took their titles from the seasons. But the show was no pastoral, no pretty nature calendar, and the music was definitely not Vivaldi.
Instead, Nancy Zendora, a choreographer long interested in ancient culture and ritual, presented nature as mysterious, strange and beautiful, but possibly frightening. The five dancers in diaphanous shifts designed by Jennifer Lee could have been initiates in a cult. From bird calls, Hannah Darrah,s sound design swerved into something more like speaking in tongues. The musical recordings that followed were spiky, eerie: compositions by Gyorgy Kurtag, Morton Feldman and Iannis Xenakis, and drums and shamanic voices from Mongolia. Read more...
- Brian Seibert, New York Times, June 17, 2014
A Dancing Reality in the Play of Light and Shadow
In the gap between the visible and the invisible I find myself, when I struggle to see Dance in the piece by Nancy Zendora. The work is named Cartouche, and is choreographed to the music by composer Morton Feldman. I struggle in vain until I realize that I have to observe the play of light, which like reflections of a water is projected as a backdrop. In a flash, the dancers movements starts to resonate with the rapid movements of highlights on the backdrop, and the dance becomes magic. The slow, minimalistic moves made by the dancer seem to trig the pulse of light in an optic illusion produced by my willing act of interpretation.
It makes sense, as if I have entered the space of Zendora. In the following pieces I focus on how light and shadow produce spatiality and form in the performance. In the Voice of Light the dance takes place in a circle of light projected by a spotlight, and a small lantern in the form of a pyramid works as a counter point. Shining small pyramid / person big enlightened. It's like a Sufi mystery, and the dancer swings around, as if she confirms the hypothesis.
In the third and last piece New Flight I can only recall the mask, left on the stage and still shining from some kind of light. If it is from the inside, or only the reflections of a spotlight I can't figure out. It ought not to be, but the poetic truth is, that the light comes from within.
What kind of dance is this. It is invisible to me when I try to look straight at it, but still it is poetic and strong. It is unrecognizable, it is not real, but surreal.
- Kurt W Nyberg, Dance on the EDGE
R E V I E W E X C E R P T S
"For twenty years, Nancy Zendora has been her own kind of classicist, making exquisite, luminous dances that are quietly alluring." Amanda Smith, DANCE MAGAZINE
"Even when Nancy Zendora's dancers move swiftly, they look still--as if they're suspended in amber, or as if a wind has suddenly dropped and we see and hear everything better." Deborah Jowitt, VILLAGE VOICE
"Zendora's images are so beautifully and clearly seen because of their context--the way they appear to be suspended in solution. Her slowly evolving, minimalist work has the spare look of delicate brushwork." Amanda Smith, DANCE MAGAZINE
"She has the gift of quietness; the ability to do very little and allow a spiritual echo to reverberate." Burt Supree, VILLAGE VOICE
"Zendora takes the winding road through a world of visual mystery with ancient echoes." Eva Yaa Asantewaa, VILLAGE VOICE
"Every move counts in Nancy Zendora's best pieces. Compressed and resonant, they seem to radiate from still centers, encapsulating natural and mythic worlds." Susanna Sloat, ATTITUDE MAGAZINE