The performance was exhibited in MCA Museum in Chicago between February 18 and 19 2017. The performance stage was dark when the works of Merce Cunningham and others was starting. Fortunately, radiated movable LED lights were projected on the dancers who were artistically dressed in white regalia. The experience was splendid considering how the white attire contrasted with the dark background. This was an awesome experience of light use in art performance. The dancers were able to manipulate the unconventional light sources to add an aspect of uncertainty throwing the audience into state of confusion as they tried to guess the next move. Choreography was above board at it demonstrated the strength of dancers and the trust that existed between partners. Synonymous with other art composition, the dancers were able to form difficult shapes on the stage as they ran forward and backwards, rolling on the ground and supporting each other.
The dancers performed Untitled Partner #3, a masterpiece that was created by artistic director at CCN-Ballet Lorraine. This piece was also necessitated by coordinator of research, Caley who danced with Cunningham Dance Company between 1993 and 2000. The second piece to be performed was Fabrications created by Cunningham in 1987 in Minneapolis. This masterpiece had 64 different movement cycles that completely exemplified the artist’s strong interest and arbitrariness. Fabrications brought a lot from Ballet Lorraine dancers because the composition outlined the strong and classical abilities necessitated by Cunningham choreography. After performing Fabrications, the dancers went into an interval to give the audience adequate time to prepare for Sounddance, another composition. According to Cunningham, the work was fast, complex and vigorous to effectively draw the attention of the audience who were tempted to move towards the edge of their seats.
As highlighted, Sounddance was the next composition to be performed. This artwork was created during the time that Cunningham was with the Paris Opera Ballet. The work stood out in regards to the multiple aspects that it envisioned. For instance, the art was unique from costuming to the balletic movement allowing Cunningham to give the piece myriads modern twist. The performance did not disappoint because the golden backdrop represented classical ballet dance characteristic of Parisian culture. In this particular performance, Cunningham artistically turned the curtains to represent movement on the stage. For that, the dancers were able to move in and out of the stage through an opening that appeared invisible before it burst open to necessitate movement.
At one point the audience realized the weight of the performance and how difficult it was. There were a lot of aspects to take away from the performance. Most of the viewers were left confused on what aspect of the performance they could concentrate on. The audiences, who were dancers, were left to focus on specific dancers or single movement within the stage, so as to concentrate on every aspect and detail about the performance. However, it was important for the audience to focus their attention on the entire production to fully comprehend the entire work. For those who managed to concentrate on the entire performance, a different interesting experience was created as a result of integration of design elements, principles, choreographed formations and the chemistry between dancers. Indeed, it was a performance of a lifetime and it was elevated beyond what many were accustomed to.