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June 13, 2000
Start With Lyricism, Progress to Brilliance
By Jennifer Dunning
The modern dance pioneer Doris Humphrey believed that all dances are too long. Robin D'Amato, who trained in Humphrey's technique, cited that observation in program notes for ''Short Pieces 2'', presented on Friday night. One imagines that Humphrey might have approved not only of the succinctness of the dances but also of the subtle organizing principles of Ms. D'Amato's 1999 ''Dancing Barefoot''.
In the first of the two duets that make up ''Dancing Barefoot'', performed to songs by Patti Smith, Ms. D'Amato moved as if tethered within a circumscribed area. Suzanne Jaehne danced through the larger space around Ms. D'Amato but always looked as if she were connected by some imaginary strand. Contrasting circles and smaller spins were at the heart of the second duet. The differences in the dancers' height, build and attack added texture to the lyrical piece, though Ms. D'Amato needed a little of Ms. Jaehne's stronger focus.
Focus and the weight of gesture and stillness were key in ''Ghazi'', a solo choreographed by the guest artist Richard Daniels to Beethoven. The title refers to the Turkish word for hero, leader and survivor of war. As Mr. Daniels's warrior moves slowly from a pool to a path of light, designed by Clifton Taylor, one can see that he has survived long, wearying years of battle. His focused gaze and the time and space he gives to every moment suggest he will go on. That kind of focus is rare in dance today. Mr. Daniels suggests how important it is in this handsome, poignant solo.
The program also included Ms. Jaehne's ''One for My Baby'', Molissa Fenley's ''Ocean Walk'' and Ms. D'Amato's ''Four Pieces of Eleven'', performed by the choreographer and Christine Conkoin, Elizabeth DeMent and Stefanie Smith.
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