Keely Garfield Dance- Perfect Piranha Premiere

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PRESENTED BY THE CHOCOLATE FACTORY  

NOVEMBER 29 - DECEMBER 9

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“Garfield’s work is an act of disruption, an unmasking with occasional masks, a mouthful of Pop Rocks, a baptismal immersion in feelings that continuously build.
— Eva Yaa Asantewaa - Infinite Body

Perfect Piranha emerges as an uninterrupted flow of continuous movement, veering between a whisper and a roar. Declarative dancing gives sway to mixed emotions, evaporating patterns, and vaudevillian flourishes. The dance concludes in an immaculate outpouring – Mandala – a dance within a dance. Mandala is an extraordinarily intricate ascending spiral that serves as soulful completion. 

Winston Churchill said, “All the great things are simple, and many can be expressed in a single word: freedom, justice, honor, duty, mercy, hope.” What can be expressed is simple. What cannot be expressed is most urgent. What if there are no words yet for what we are living through? Meaning accrues - intonation, accumulation of speed, diminishing space, hate speech, embodied listening, sublime utterance – who are we now? I hit you and you hit me is one way to communicate. Inchoate and tentative, we turn away. A Piranha’s teeth are serrated, sharp as blades, and ideal for shearing and tearing flesh. A veneered smile is heralded as indication of how smart and happy a person is. Let’s turn back, reach deep into our subterranean hearts, and remember who we can be. Imagine a piranha’s strong jaw and teeth closing in, and turn towards this awareness. Snap! Wake up! We struggle with what we have made. Let’s start over. Compassionate and in accord, we turn…None of us can do this alone.

Keely Garfield has been on a phenomenal tear in recent years, creating work that seems always on the verge of plunging off a cliff — you watch spellbound, waiting for the car to crash and burn in spectacular fashion. Somehow, though, she always makes the curve...If you are going to make a stand best to make it at the height of your power!
— Claudia La Rocco - The New York Times