The Museum of Modern Art (MoMA) recently showcased a dynamic series of choreographic works as part of the Pageant event, highlighting the diversity and vitality of contemporary dance. The program featured a range of performances that explored themes of physicality, boundary, and interpersonal connection, delivered by both trained and untrained dancers.
The evening opened with Isa Spector’s “MoMAlogue #1,” a piece that combined wit and vivid physicality. Spector began with a solo performance, expressing frustration over the challenge of capturing the essence of dance within a museum context in just ten minutes. The piece culminated in a collaborative moment where the five founders of Pageant joined Spector, wearing red gloves and moving in slow circles that evoked Henri Matisse’s iconic painting “Dance.” This gesture served as a live homage to the museum’s collection, linking visual art and movement.
Other choreographers presented works that emphasized distinct stylistic and emotional qualities. Evan Ray Suzuki’s “5” featured dancers moving with the deep, deliberate intensity characteristic of Butoh, while Amelia Heintzelman’s “How Dogs Play” brought a raw energy to the stage that fluctuated between aggression and vulnerability. Maya Lee-Parritz’s “Bonningham” included a duet with Jodi Melnick, whose fluid back movements were likened to a snake’s undulation. The performance climaxed with Lee-Parritz’s energetic gestures and Melnick’s dramatic removal of a hair band, creating a striking visual moment.
The program also included Joel Watson’s “DESPERADO!!,” a one-man show noted for its nuanced physical control and emotional depth. Benin Gardner’s “Snafu” combined sleek choreography with elements of dance theater, creating a tension-filled narrative reminiscent of a spy thriller or hostage scenario. The work ended with a poignant appeal involving a sign requesting that the MoMA Film Archives return a film negative to the artist Robert Gardner, who is also Benin Gardner’s father, underscoring the personal connections embedded in the performance.
Gardner’s presence extended beyond “Snafu,” as he participated in two additional pieces during the marathon. The Pageant community, as described by co-founder Dekker, thrives on mutual support and artistic exchange: “Pageant is the people who show up for each other,” he said, emphasizing the spirit of influence and collaboration that defines the event.
Despite the varied tones and styles of the individual pieces, what unites the Pageant performances is a shared commitment to serious artistic engagement and collective creation. Co-founder Manns reflected on the ethos of the group, noting, “Maybe it’s the relationship that we have to the work, but also to each other. It’s like this historical way of working with other artists and insisting on yourself and creating something together.” The MoMA event underscored both the diversity of contemporary choreographic expression and the enduring power of community in the arts.