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Joanna G. Harris
Music and Dance Reviews
Performance Reviews
Yerba Buena Center for the Arts
United States
San Francisco Bay Area
San Francisco, CA

Liss Fain Dance's “Tacit Consent” an Adventure for Dancers and Audience Members

by Joanna G. Harris
May 9, 2016
Yerba Buena Center for the Arts
701 Mission Street
San Francisco, CA 94103
415.978.ARTS (2787)
Joanna G. Harris Author, Beyond Isadora: Bay Area Dancing, 1916-1965. Regent Press, Berkeley, CA, 2009. Contributor to reviews on culturevulture.net
Entering the Yerba Buena Center for the Arts Forum and you encounter the marvelous set made by Matthew Antaky (Some of the screens are made of 8x10” mailing envelopes!). Antanky is also credited with the installation, projection and lighting design, and with Frédérik Boulay, with media and animation creation, in Liss Fain Dance's program May 5-8, 2016. Your task, as an audience member was to walk through the set and/or sit on the benches provided and watch Liss Fain’s production “Tacit Consent.” That task was as demanding as the work.

Accept the fact that each zone of the set has a white area that is only for the dancers and the circle in the center is their gathering place. Then watch Sonja Dale, Katharine Hawthorne, Megan Kurashige, Shannon Kurashige, Cassie Martin and Sarah Dionne Woods-LaDue run, balance, perch on one another, fall, lift one another, embrace, attack and generally offer today’s contemporary intense dance at a fast pace. The dynamic was powerful throughout: a quiet moment was hard to find.

“Tacit Consent” (Whose? To what? For what?) is amazing in its dynamic energy and dance daring. It took great energy charge to follow the powerful and outstanding perfomances of Katharine Hawthorne and the Kurashige sisters, although all the dancers were courageous.

The 45-minute performance went by fast; especially since the audience members had to wind their way through and around the installation.

Liss Fain and her dancers have produced an admirable addition to today's contemporary experiments in dance innovation. The work was attractive, arresting and demanding. It needs to be seen again.

Credits include costumes by Mary Domencio and music by Dan Wool. The biggest credit for the work however goes to the genius of Antaky.
Shanon Kurashige (top) and Katharine Hawthorne (bottom), in Liss Fain's “Tacit Consent.”

Shanon Kurashige (top) and Katharine Hawthorne (bottom), in Liss Fain's “Tacit Consent.”

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