Now in its 13th iteration, Occurrence presented by Spectrum Dance Theater (SDT), displayed what’s possible when play is centered in the choreographic process. Modeled on a Merce Cunningham EVENT, it consists of complete dances, excerpts from the repertory, and often new sequences arranged specifically for each performance. Donald Byrd, Artistic Director and choreographer of SDT, sees the creation of this performance as an investigative game. He has the chance to try out new ideas with different musical choices, sequencing of steps, or reimagining the meaning behind previously made work. This mixed bill performance included Geekspeak, which was created in 2016, and three new works: Past/Future, Octavia, and Friday Night. 

Geekspeak, a quartet staged by Mary Sigward began the show. The cool-toned lights gradually revealed a square formation with a dancer at each stage corner. The silence lasted briefly before a recorded conversation between techies started. As they discussed keyboard shortcuts, coding, and other tech-related lingo, each dancer rapidly executed a whirlwind of sharp kicks and dynamic arm pathways as they traveled around the stage. The pace of the choreography matched the ebb and flow of the tech dialogue, often with the dancers starting or stopping their movement on certain words. With vigor as the catalyst of the choreography, the dancers intentionally showed how effortful and tiresome it was to execute the movement. Audible heavy breathing paired with moments of pause, the dancers resting only so they may continue again with maximum effort.

The transition into Past/Future began again in silence with company artist Cody Krause bringing a chair in the center of the stage, standing, and making direct eye contact with each person in the audience. As if waiting to see who would be picked first for the dodgeball team, the audience seemed to hold their breath. Donald Byrd was chosen to sit on stage and received over-the-ear headphones and a notepad from two other dancers who joined him on stage. The soundtrack of two monologues overlapping one another, voiced by Byrd, filled the space. I was overstimulated by the soundscore and found it hard to latch on to what was being said. Maybe that was the point. To have so much information thrown at you and only remember bits and pieces, sound bites, phrases. I recall hearing in the soundscore phrases such as memories, dreams, and wondering what the future will look like without physically being present in it. This work seemed a performative representation of the act of processing information and looking inside the choreographer’s mind. 

The third work of the show, Octavia, featured all six company dancers in black unitards that seemed to change color under different lights. Company artist Cody Krause ushered in the start of the piece with a circular jig-like jumping sequence. With the command to begin from a voice in the music, the dancers moved around the stage with power. Whether moving individually or entangled in partner work, the highest amount of effort was needed to execute the choreography’s quick directional changes, leaps, turns, and leg extensions. Throughout the piece, the dancers circulated between the roles of spectator and performer. While in the spectator role, dancers stood at the perimeter of the stage, encouraging those dancing to keep going. Using their communal voice to count out loud and keep time as they jumped in a connected counterclockwise line, the dancers supported one another both physically and mentally to continue. 

To close the evening of Occurrence #13, the final piece Friday Night was a complete contrast to the previous three works. Using bright pink and orange lighting, athletic wear costumes, and upbeat house music, this piece brought fun and levity to an otherwise reflective and deep-thinking concert. The dancers remained at the front edge of the stage for the majority of the piece. Repetitious accented hip movements and isolated arm strikes anchored to a continuous groove step in the lower body mimicked the bright rhythm of the music.  As the choreography broke away from repetition and into small group phrases, the characteristics of the movement mimicked that of the previous three pieces with sharp kicks, quick directional changes, and virtuosic split jumps. In this choreography, the dancers were connected through their eye contact and partner work.Their joy in executing the movement invited the audience to join in the performance, ending the night on a high.