Choreographic prowess manifests in varied ways. Some artists paint the stage, designing alternate dimensions imbued with such a richly dreamed viscosity that audiences lose themselves to an utterly haptic experience. Others are adept at invoking the highly distinct, sophisticated artistry in individual dancers. Then there is ensemble choreography, and Alyce Finwall'sEnter Demeter, premiered at Mills College in late April, displays some of the finest I've seen in a long time.

Demeter is an impressive and accomplished choreographic symphony, replete with fleshed out moods, movements and variations that, while contrasting and diverse, weave as a seamless patchwork. Never overly chaotic, always complex, ordered disorder permeates the stage from end to end. The nine female dancers, clad in simple black tops and bottoms, engage in trios, duets, and solos that cross-pattern and overlap in ways both labyrinthine and organic.

Finwall has an innate sense of what should happen when. Nothing is ever too long, too short, over-hatched, or underdeveloped; it is extremely satisfying to watch. Her movement is fast, athletic, sensuous, and at times, solely gestural. Such qualities aptly serve her theme - female relationships and the many paradoxical forms they take, from tender and supportive to competitive and psychologically warring. For her, Demeter is an exploration of “what it means to be a woman through life... their ability to work together and against each other.”

Jason Hoopes' soundscape is a rich compilation of electrified pulsations (originating from Finwall's actual breast pump), humming undertones, low-pitched strings, and female vocals of an arabic song. Sound and motion complement each other throughout, though a certain eeriness so prevalent in the music never quite meets its match in the choreography. More depictions of otherness, of animalistic atavism could enrich Finwall's vocabulary even more. 

Finwall danced with Ballet of the Dolls in Minneapolis, and she also choreographed and performed in New York City, where she lived for several years prior to moving to San Francisco. She left the States for a few months to study with Mats Ek at the Cullberg Balletand she is highly influenced by his raw sexuality, athleticism, theatricality, and quirkiness. Like Ek, she is interested in the psychology behind the movement, and with the recent birth of her second child, she "think[s] more about the fragility of life now.”

“Enter Demeter” will be performed at Dixon Place in NYC on June 24th and 25th, and atWest Wave in San Francisco on December 13th. Finwall begins her Artist-in-Residency at the Garage in July, where she will present a 4-woman piece about Eve on September 22nd and 23rd.