The stage was set with several white square cube, a table with small percussive instruments next to a tom drum, and a moving light pattern projected from above on to the floor. Another table sat opposite with electronics and computers. One table represented the past and the other the present just like the subject of the work SAMĀ presented on Friday, March 6, 2026, at Highways Performance Space by the Resonance Collective.
One definition of Samā reads: Samā (or Sema) is a Sufi practice of “sacred audition,” using music, poetry, and dancing to reach a meditative, ecstatic state (wajd) to get closer to God. The program notes stated that the work was “Inspired by transcendental spiritual practices from around the world, SAMĀ is a multidisciplinary piece that explores the trance state through voice, percussion, live-electronic processing, dance, and projections.”
Resonance Collective in “Samā ” – Photo by LADC.
Six people, dressed in all white, entered the space and stood in two lines face each other. Artistic Director, Fahad Siadat, spoke at length about the meaning of the practice of Samā and led the audience through a couple of breathing exercises and a four note vocal chant. He called the practice a listening one, an exploration of mystery and a witnessing.
Siadat stood behind the table and with his incredible wide-ranging voice filled the space with chants, song and other sounds while accompanying himself with the percussion instruments. As he did so, Siadat used a computer to sample his music into a mesmerizing score that alluded to both a religious chant and new age music designed to calm. When he abruptly and dramatically changed the dynamics of the music, it resulted in a shift in the movement being performed by the three dancers Jennifer Deckert, André Megerdichian and Catalina Jackson-Urueña.
Resonance Collective – (L-R) Jennifer Decker and Catalina Jackson-Urueña in “Samā ” – Photo by LADC.
While Siadat’s music was always interesting to listen to, the in-motion lighting was being processed by Sarah Turner and R.S. Buck and the dancing became very repetitive and predictable. There were not enough shifts in tempo for the dancers and unlike the Turkish Whirling Dervishes mentioned as one form of Samā practice, there was never a sense of ecstasy, God realization or mystery from anyone but Siadat. I even question whether or not the movement was completely meditative enough.
The overall production of SAMĀ was beautiful and very professional. The three dancers were excellent movers, but their performance never reached a peak or climax. Deckert and Jackson-Urueña did make attempts at shifting their tempos and levels, but in spite of his extensive professional background, Megerdichian appeared to simply drift around the space exploring slow arm movements with a constant smile on his face.
For more information about Resonance Collective, please visit their website.
To learn more about Highways Performance Space, please visit their website.
This article was edited on Wednesday 3/11/2026.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Resonance Collective – (L-R) Catalina Jackson-Urueña and Jennifer Deckert in “Samā ” – Photo by LADC.
