Dada Masilo’s “The Sacrifice” is a sad tale worth viewing
While most dances are based around a song, allowing the music or lyrics to tell the story and encourage the choreography, Dada Masilo’s “The Sacrifice” proves the body can say so much without speaking a word.
The Sacrifice is the story of a ritual that combines Masilo’s own South African roots and Tswana dance while being influenced by Stravinsky’s “The Rite of Spring.”
Masilo starts the performance, slowly entering the stage while bare-chested and only wearing a colorful ankle-length skirt. Her dancing switches between willowy glides, as though she is moving with the air around her, and quick sharp movements, like her body, is now being instructed on how to exist. Soprano Ann Masina enters after her, following Masilo with soft harmonies that would support the performers throughout the rest of the dance.
The beginning with Masina and Masilo foreshadows the sad fate Masilo will soon encounter as she becomes the sacrifice for what seemed to be her joyous and unified community.
The majority of the performance includes all 12 dancers performing the same choreography but adding their own presence to it. They dance in unity while acting with their individuality by smiling at each other, calling out the musicians for playing too fast and adding their twist to the dance moves.
They use their bodies as instruments, sometimes stomping their feet with the beat or clapping with the musicians. The dancers soon single Masilo out, but in an act of admiration. They cheer for her as she dances.
It’s not clearly understood why Masilo is chosen to sacrifice. She obviously stands out in the crowd by always appearing at the front and being appreciated by her “community.” But, the obscureness makes the end of the performance more frightening and similar to the many women who become preyed upon or harmed simply for existing.
Toward the end of the performance, Masilo appears topless again, wearing a white skirt, alluding to purity and naivety. The male dancers navigate her body, using her up and leaving her to follow their lead. Before long, she is left lifeless in the grasp of Masina.
Masilo’s “The Sacrifice” is a sad journey of being a woman exposed to betrayal by people she thought she could trust. But the dancing, the echoing and comforting vocals from Masina, and the emotions portrayed on the faces of each performer make “The Sacrifice” an entrancing show worthy of viewers’ attention. – Timia Cobb
IF YOU PLAN TO GO: 2 p.m., June 3; and 5 p.m., June 4. Location: Sottile Theatre, 44 George St. Tickets range from $44 to $83.
Younger redefines what the harp can do
Harpist Brandee Younger’s first performance of the Spoleto Festival USA season Thursday was quite the night for spontaneity — and maybe a little too much of it.
When Younger took the stage at Queen Street Playhouse with bassist Rashaan Carter and drummer Allan Mednard, they kicked things off with Alice Coltrane’s trundling “Gospel Trane.”
Younger said they didn’t plan to play the song, but since the trio was talking about gospel backstage, it seemed fitting. The rest of the set may have also been selected on a whim based on the hesitant glances shared among the performers between songs, but nevertheless, they played spiritedly.
With about a month’s notice, Younger stepped in to replace Courtney Bryan, the pianist-composer artist originally scheduled to perform this season, who canceled due to medical reasons.
Younger’s performance confirmed that the harp is one of the most soothing instruments there is. But it was her dazzling plucking of each string that proved the harp can do exciting dances and arpeggios, too, if in the right hands.
The same went for Carter, who expertly played both upright and electric bass guitars, filling the theater with deep and rich melodic lines to accompany Younger.
Mednard, on the other hand, stole the show, and not in a good way. After what was a cohesive performance of “Love and Struggle” from Younger’s “Somewhere Different” album came an unnecessary and seemingly spiteful drum solo that lasted — checks watch — well over six minutes.
From the looks of Younger and Carter’s bothered expressions, Mednard’s solo could not have been planned. To be frank, it felt like an anxiety-ridden bystander effect as the audience sat through Mednard’s sabotage of Younger’s time to shine. But it’s not like anyone could’ve easily shouted over the man crashing sticks on a bunch of metal and told him to stop playing. While Mednard certainly has chops, his inability to read the room and control his dynamics, unfortunately, put a slight damper on the concert experience.
Luckily, Younger had a few last tricks up her sleeve. “Spirit U Will,” also from “Somewhere Different,” brought out the best in Younger’s agile but graceful playing. Her melodies meandered, but not without a destination. Clearly, Younger belongs on the stage and enjoys being there.
She concluded with “You’re a Girl for One Many Only,” a piece written by jazz harp pioneer Dorothy Ashby in the 1960s. Until Younger released it on her latest album Brand New Life this April, the song had never been recorded before.
“You can’t find or hear this anywhere else,” Younger said. And now you can hear it live. – Piper Starnes.
IF YOU PLAN TO GO: Brandee Younger performs again June 3 at 5 p.m. and 7 p.m. Seating for this performance is General Admission on a first-come, first-served basis. Tickets are $38-45.
Timia Cobb and Piper Starnes are arts journalism graduate students at Syracuse University.
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