David’s creative process is as unconventional as his work. Within the skeleton of the piece, each performance varied because of its heavy usage of improvisational tasks. The music, “Warm Africa,” by Ian Hawgood, “Beasts of this Earth,” by Nicolas Jaar, and “A Case of You (Live)” by Diana Krall was secondary and not the impetus for the movement or message. The roots of this piece were the conversations that the dancers had amongst themselves, and openly with the audience. The dialogue opened up questions and concerns not ordinarily explored. The dancers entered from behind the audience, walking down the stairs through the crowd to the stage as two dancers had a discussion, although they were out of sight. The minimalistic movement helped the audience focus on what was being said. Although pedestrian style values simplicity, Norsworthy had at least five different groups of dancers or duets doing different things on various parts of the stage, singing, laughing, or simply laying on the floor, still. Three dancers ran around the stage for ten whole minutes, not stopping at all and another stood still in the same spot, unmoving for the same amount of time. As tensions
David’s creative process is as unconventional as his work. Within the skeleton of the piece, each performance varied because of its heavy usage of improvisational tasks. The music, “Warm Africa,” by Ian Hawgood, “Beasts of this Earth,” by Nicolas Jaar, and “A Case of You (Live)” by Diana Krall was secondary and not the impetus for the movement or message. The roots of this piece were the conversations that the dancers had amongst themselves, and openly with the audience. The dialogue opened up questions and concerns not ordinarily explored. The dancers entered from behind the audience, walking down the stairs through the crowd to the stage as two dancers had a discussion, although they were out of sight. The minimalistic movement helped the audience focus on what was being said. Although pedestrian style values simplicity, Norsworthy had at least five different groups of dancers or duets doing different things on various parts of the stage, singing, laughing, or simply laying on the floor, still. Three dancers ran around the stage for ten whole minutes, not stopping at all and another stood still in the same spot, unmoving for the same amount of time. As tensions