By CB Adams
The same week that I attended Dance St. Louis’ presentation of the dance company Pilobolus, I read something in Oliver Burkman’s “Four Thousand Weeks, Time Management for Mortals” that perfectly captured the experience of watching the performance: “As dancers know, when they lose themselves in the dance, synchrony is also a portal to another dimension—to that sacred place where the boundaries of the self grow fuzzy, and time seems not to exist.”
That falling – or being pulled – into that sort of reverie is one of the joys of experiencing a live dance concert in general and of being entranced by the work of Pilobolus in particular.
Dance St. Louis kicked off its 59th season on Nov. 9, at the Touhill Performing Arts Center, with “re:CREATION” by the world-renowned Pilobolus. I was eager to see Pilobolus again. I still remember fondly the only other time I have attended a Pilobolus performance – way back in college. Back then, I was as attracted to the company’s boundary-pushing, innovative and highly collaborative performances as I was to the mildly countercultural way the founding dancers took their name from a type of fungus that grows on dung and is known for its ability to launch spores toward light.
Ever since that first experience, I’ve been aware that Pilobolus has continued to evolve and thrive by focusing on their approach to physical storytelling, intricate human formations and weight-sharing choreography to create visually striking and gravity-defying performances. Their style has always seamlessly blended humor, illusion and raw physicality while embracing new technologies, shadow work and multimedia elements to expand the scope of their artistry while staying true to their signature ensemble-driven movement.
When Dance St. Louis announced the performance of Pilobolus, I was eager to witness – again – the way the company can captivate with unexpected shapes and fluid transitions. Pilobolus’ collaborative creative process, emphasizing improvisation, partnering and group-driven choreography encourages participants to explore their creativity, work together toward a common goal and discover their unique artistic voices.
The work that Pilobolus is known for was on full display throughout “re:CREATION.” The performance featured a series of interconnected pieces that explored themes of transformation, connection and human resilience. The dancers moved with fluidity and precision, creating stunning shapes and patterns that seemed to defy gravity. The performance featured:
- “Tales from the Underworld,” a new creation that harnessed the creative energy and collaborative spirit of the company while weaving together stories that revealed profound connections through elements of horror, humor and revelation.
- “Walklyndon,” a seminal piece in Pilobolus’ repertoire, capturing the playful essence of the company’s early days with themes of youth, playfulness and bawdy humor.
- “Bloodlines,”: a powerful piece that delved into the concept of family and heritage, with dancers forming intricate patterns and shapes.
- “Awaken Heart,” which explored the theme of awakening and renewal, with dancers moving in sync to create a sense of unity and hope.
- “Branches,” a piece inspired by nature, this piece featured fluid movements that mimicked the growth and movement of tree branches. “Branches” beautifully contrasts the upward, elevated movements typical of classical ballet with the grounded, earthy movements of modern dance. This approach is reminiscent of Martha Graham’s teachings and philosophy, which often highlighted the grounded nature of modern dance. Graham’s technique emphasized movements like contraction and release, which draw energy from the core and connect the dancer to the earth. This approach contrasts with ballet’s focus on lightness and verticality, creating a dynamic interplay between elevation and grounded-ness in “Branches.”
Oliver Burkman’s notion of losing oneself applies to both the dancers and an audience member like me. During a performance like the one Pilobolus offered in St. Louis, the audience can be transported to that same sacred place, where we become fully immersed in the experience, losing track of time and self. The seamless synchrony and captivating choreography of Pilobolus created a shared moment of transcendence, where both dancers and viewers are united in the beauty and emotion of the performance.
I have only one complaint about Pilobolus’ performance, and that is an unfulfilled desire to see some additional works from its repertoire. I would like to experience, rather than read about works such as “Shadowland,” from 2009 that shadow theater, multimedia projections and contemporary dance to create a surreal, dreamlike narrative. Another, from 2011, titled “Connected” was a collaboration with sculptor Jared Bark, in which dancers interacted with a large-scale kinetic sculpture. The piece blurs the lines between dance, visual art and engineering, demonstrating Pilobolus’s ability to merge movement with physical structures in a technologically influenced way.
I am also curious about 2021’s “UP!” that was created in collaboration with MIT’s Computer Science and AI Lab. Pilobolus worked with roboticists and engineers to explore new ways of integrating human movement with robotics and interactive technology. This project examined how artificial intelligence and motion sensors could be used to enhance live performances.
Dance St. Louis has been a leader in presenting world-class dance to the St. Louis region for 59 years. As one of the country’s oldest nonprofit dance-only presenters, Dance St. Louis brings leading dance companies like Pilobolus from across the country and beyond to local audiences. Their commitment to making dance accessible to everyone is evident through their extensive educational programs and community outreach initiatives.
Here’s hoping they can find a way to bring back Pilobolus some time soon.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
