Reviewed by Adrienne Totino
Gia Cacalano has come a long way since her traditional Martha Graham training in New York City. Although she respects choreographed modern dance immensely, performing another artist’s rehearsed movement never felt comfortable to her.
After quitting dance for seven years, Cacalano finally found the style that suits her best—improvisation. Over the last decade, she has made a name for herself creatively in Pittsburgh, despite her shyness and discomfort with the public.
Friday, she performed the first piece of her new season, fully funded by the Heinz Endowments Small Arts Initiative. Her solo, Candescence, took place at the Wood Street Galleries, a studio that has hosted her and her ensembles many times.
Cacalano performed alongside the latest art installation at the gallery. Mirjana Vodopija, originally from Croatia, was one of the artists in residence. Her work, Absence of Self, included three large prints, two of which utilized video animation. Each print pictured desolate, snowy or icy landscapes. In one, a complete white-out, Vodopija stood with her back to the camera. In the others, her image was digitally projected, in intervals, walking away from each scene.
Although Cacalano spent little time with the art, her ideas about the work were strong. The prints inspired her to think of several themes: ridding the ego, being seen or not seen, the loss of self that comes through our age of technology, and the shedding of our various selves.
Cacalano entered the space with an investigative energy common in her improvisations. Her inquisitive nature allows her to relate to the space in which she performs, a quality important in connecting the physical and visual art. Cacalano’s heightened awareness showed from the beginning; she timed a determined walk with Vodopija’s figure on one screen almost immediately.
The choice of costume and props also spoke to the artwork. Cacalano began sheathed in several layers, including a skirt made of bubble wrap and a black hat nearly covering her eyes. The layering of her clothes represented the layers of her self, some of which she shed throughout the piece.
In her hands, she carried several pair of latex gloves, eventually placing them on the floor in a purposeful and careful manner. She later explained the gloves as a representation of the “sterile” and technical way we present our lives online, perhaps the place where we most lack our true selves.
All of this related well to the images on the screens. The movement often mirrored the feeling of seclusion. For example, Cacalano positioned herself behind the screen a few times, leaving only her legs and feet visible to the audience. Still, the dance wasn’t melancholic. Cacalano included a healthy amount of movement simply pleasing to the eye, physically attacking a phrase with lightness on her feet.
The music was recorded by Kagi-Jong Kag Park, an artist out of Amsterdam who will mix live sound for Cacalano’s April ensemble show. Cacalano stayed connected to the electronic beats, seeming to discard a layer of clothing, or “self,” each time a new section began.
She moved from the bigger, released movement at which she excels, to tiny gestures easy to miss, like a foot slowly turning in, or one finger pointing subtly into the distance. Sweeping progressions showed off her technical range, and concluded with deep pliés, lunges, and near splits (with no feeling of flashiness).
The piece ended when she exited with certainty in the direction of one print, disappearing from our view as did Vodopija’s own shape on the screen. The timing matched up spontaneously but artfully, which is the beauty of improvisation and Cacalano’s skill.