The founders of WIP, Stephanie Zaletel, Kate Wallich, and Belize Wilheim, introduced two new artists for their 11th installment of showcasing works in progress at G-Son Studios this past Monday night. Half of the excitement comes from the exclusivity of being able to see a performance piece in its vulnerable beginning stages, and the other half comes from the inclusivity of being a part of the WIP platform which, in and of itself, is also in its beginning stages. Part of why WIP has a line out the door is simply its existence in LA; a city craving safe spaces for artists to try out original ideas in front of a live audience. While Zaletel, Wallich, and Wilheim describe WIP as being “low-tech, high-visibility,” they should also add “low key, high impact” to the list. Their ability to forefront artist’s needs and meet them where they are in the process is not only a skill, but a necessary action that movers, specifically in LA,  need from a dance administration point of view.

Works In Progress - Keilan & Collaborators in "Piecing Things Together" - Screenshot courtesy of WIP.

Works In Progress – Keilan & Collaborators in “Piecing Things Together” – Screenshot courtesy of WIP.

Upon entering the 2nd floor space of the studio, the audience was immediately immersed in Keilan & Collaborators’ work entitled “Piecing Things Together”. Two movers in black masks and camouflaged shirts moved in and around each other’s negative space, pulling on body parts in a contact improvisation. With stark lighting, and a fog machine haze, the space was harsh, stimulating, and sort of otherworldly in the best possible way. After a few minutes, the masks came off, and we saw short solos from each of the women with a heavy technical advantage. Soloist, Camila Arana in particular, was captivating to watch in her command of the space displaying Stafford’s heartsick choreographic tension. In between each piece within the large piece that Stafford was showcasing, Keilan would pause the space to talk on what the audience saw or was about to see. While hard to critique an unfinished work, the break intermediate pulled viewers out of the hazy lovelorn world we were punched in the face with from the beginning. As a crowd of observers who took the time out of their Monday evenings to see dance, it was a disappointment to be given an explanation for each section. While intentions were to give context, this removed the audience from inserting their own thoughts, feelings into the dance they were watching. Beyond this small, and personal, disruption the movement itself was swift, rapid, and reminiscent of how our brains work by jumping from one quick thought to another. Keilan & Collaborators’ choreography feels like when you meet someone new for the first time, and you start clicking, and it feels like all the small things you thought were weird about yourself were on purpose, just for this one amazing connection.

Works In Progress - Stephanie Dai in "Uretchko" - Screengrab courtesy of WIP.

Works In Progress – Stephanie Dai in “Uretchko” – Screengrab courtesy of WIP.

Stephanie Dai’s work entitled “uretchko” began with an uncomfortable pose on the floor in the corner of the room. By isolating herself from the vastness of G-Son Studio, the viewer was able to focus in on the details of her performance that otherwise would be missed. Dressed in a button down navy shirt, with long navy pants, Dai began to move her hands, wrists, ankles, and toes as if in conversation with her body. As the piece furthers, a narrative between Dai and her body becomes more apparent and brings with it, the feeling of anxiety and discomfort so many feel within their own physique. Without any music, or external noise, the silence itself became a topic of ecstatic discomfort, leaving the onlookers with Dai’s movement as the intriguing focal point. The choreography reflected specific internal dialogues that were relatable on a universal level, and yet with all the intricacies, Dai’s choreography was also ambiguously unburdened in the best possible way. The audience was so in tune with Dai’s narrative you could have heard a pin drop, and without any sure certainty, I think I heard the person beside me blinking…it was that quiet, that introspective, that soundless. In an age where scrolling, swiping, and feeding our brains with one minute topics on political action, love affairs, and DIY tutorials, Dai’s piece honed in on the most important dialogue of all…the one we have with our own bodies.

WIP’s curation is the needed reminder to slow down, watch some dance, talk to friends, and enjoy yourself as an ever evolving work in progress. You can catch session 012 next month on November 4, 2024 at G-Son Studios for the works of Marissa Brown and Daria Kaufman. This series is not to be missed!


Written by Grace Courvoisier for LA Dance Chronicle.

Featured image: Stephanie Dai in “Uretchko” – Photo by Layne P. Willis.