"21 Fully Realized Incomplete Thoughts"
Robert Moses' Kin
San Francisco, CA
May 19, 2016
by Rita Felciano
copyright © Rita Felciano
Even after twenty years, Robert Moses succeeds in surprising us, not so much for his movement language -- high speed, densely layered, embracingly fierce -- as by the formal questions that he asks of himself. He has explored myth and history, urban culture and family life. In “Draft” he invited colleagues to work with his dancers in order to get a fresh perspective on them. Collaboration with a blues musician, a writer and a folk/activist singer evolved into “NEVABADWARDLDAPECE.” For last year’s “Silt” he created an elaborate installation, purposefully designed to prevent our ability to see all that was going on. For this season's premiere, “21 Fully Realized Incomplete Thoughts,” Moses has said that he went back to ideas that he had collected over the years but had never acted upon. He listed them in the program, including among others: I will always be Mista for someone else; Noble Idea-Wrong Time; The Judas (“peeping”) Hole; The Ecstasy of Nuance; The Clowns Are Armed. But like any good work, it's not so much the "what" than the "how" that draws us into Moses' world. For "21" I followed at first with some hesitation, but soon more than willingly.
Robert Moses' Kin in "21 Fully Realized Incomplete Thoughts". Photo © Victor Talledos