On January 7, Rebecca Lemme lost her home to the Eaton fire. Much of its contents were burned in the over 14,000-acre natural disaster, but one of the few remnants of the house — a dance film — was shared at Stomping Ground LA two months later. Beginning in the backyard, dancers dive and turn with the architecture of the house she bought shortly before it was filmed. Watching the duet between dancer and design felt like watching a ghost slip out from behind the screen. However, these memories did not haunt. Although the house was gone, those who held onto the memories of love and creation that took hold within its walls proved that Lemme’s home could not be defined by brick and wood. It was with the dance community that showed up for her when she needed them most.
Lemme’s project-based company, Acts of Matter, rang in its second decade of operation with “reframe.” The celebration was ideated about 6 months ago, but initial plans took a detour with the fires. On March 22 at Stomping Ground L.A., the revitalized program included Lemme’s 2021 film “Forward Looking Back” and a work-in-progress presentation of “reframe.” Paired together, the evening offered a moment to reflect and rebuild.
Acts of Matter – Kaelie Osorio and Arletta Anderson foreground, Natalie Allen visible in background – Photo by Melanie Laval.
“Forward Looking Back” is co-directed by Lemme and cinematographer Malachi Middleton. The duo captures an ensemble of dancers in and out of frame throughout Lemme’s former house. Bodies collapse on stairs and duck beneath counters. The choreography is like a puzzle, challenging the body to find new ways of experiencing the space. However, the most thought-provoking part of the film is its technical prowess. The entire piece is reversed, an editorial decision on Lemme’s part. This framing alters the narrative into a love letter to the past. The viewer starts to unearth the mysteries created by starting at the end. Where did everyone start? Where did the water come from? It’s one big riddle that keeps you captivated. The retrograde video also welcomes a new interpretation of movement. The limbs bend differently, and a dancer’s long hair seems to pull her into the movement rather than the core or gravity.
Acts of Matter – Natalie Allen, Arletta Anderson, Colleen Hendricks and Kaelie Osorio in “reframe” – Photo by Armen Perian.
At Stomping Ground LA, the film was shown with two mirrors angled just at the edge of the film’s frame, reflecting its perimeter to the center of the screen. The configuration is a dance within itself. Lemme truly challenges how we experience dance on film by mending it like clay. The reverse head movements on screen are reflected onto themselves to depict forward movement. It becomes a kaleidoscope of dance and architecture. A little over halfway through the film, a quartet of dancers (Natalie Allen, Arletta Anderson, Colleen Hendricks and Kaelie Osorio) enters the space and stands in front of the screen. Their shadows become part of the film. As they move, their shadows collide and blend. “Forward Looking Back” culminates in a medley of movement that feels like traveling through time. It’s a mix of the present, past and future, making you question what is here and what isn’t. As an opener to this new decade for Acts of Matter, the film perfectly encapsulates the junction of time that Lemme and the company are currently experiencing.
Acts of Matter – Featuring Natalie Allen – Photo by Melanie Laval.
The work-in-progress, “reframe,” is an exercise in adapting to change. The choreography challenges the same quartet of dancers from the program’s first half to follow or challenge the flow of movement. This is best seen in the difference between Hendricks’ and Allen’s approaches. Hendricks lets the movement take her to unexpected places. A turn initiated by the arms will spin her body and pull her from one side of the stage to the other. Meanwhile, Allen experiments with redirection. A movement beginning in the arm may shift direction to her chest or spine in a rhythmic fashion. Although the energy shifts more rapidly, its volume never changes. It’s the difference between a boomerang and a ping pong ball in the two approaches.
The work is innovative in its trust in the direction of movement. Each dancer actively challenges themselves to see how a toss or turn could take them somewhere new. This exploration is fascinating, and Lemme beautifully facilitates it in her choreography. However, the exploration falters when given to the ensemble. When clumped together, the execution of each energy shift loses its clarity and finesse. The trust gets lost somewhere in the shuffle. These moments create dissonance amongst harmonious choreographic choices.
Acts of Matter – Photo by Melanie Laval.
The group flows from one side of the stage to the other in unison, shifting from one big effort that takes them to the ground. Sometimes they may turn to gestures or pedestrian movement to harness the flow in smaller spurts, but no matter what, they keep the flow alive.
The two-part presentation by Acts of Matter showcased resiliency in the movement and community. During the proceeding talk-back between Lemme and Kevin Williamson, the latter choreographer shared that Lemme went right to teaching after her house burned down. It’s a testament to her dedication to the craft and the people. The best representation of her resiliency is particularly prevalent in the work she creates. Whether dancers are performing to windows or adapting to an energetic tide, Lemme finds a way to fortify each moment with graceful redirection and purpose.
To learn more about Acts of Matter, please visit their website.
For more information on Stomping Ground L.A., please visit their website.
Written by Steven Vargas for LA Dance Chronicle.
Featured image: Acts of Matter – (L-R) Arletta Anderson, Natalie Allen, andLeslie Osorio in “reframe” – Photo by Melanie Laval.
