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IMPRESSIONS PLUS: Kinetic Light in “Under Momentum” Presented by Lincoln Center

IMPRESSIONS PLUS: Kinetic Light in “Under Momentum” Presented by Lincoln Center

Published on March 16, 2023
Alice Sheppard and Laurel Lawson; photo by Hayim Heron

Artistic Director, Performer, Choreographer: Alice Sheppard
Choreographer, Performer,Technology Creator: Laurel Lawson
Scenographer/Lighting Designer: Michael Maag
Visual Music: Joan Jeanrenaud
Ramp Platform Kit: Susan Hendren

Venue: The Clark Studio Theater, Lincoln Center, New York, NY
Dates: February 17 -19, 2023


Kinetic Light (KL), an internationally recognized disability arts ensemble, was conceived by the renowned, disabled dancer and choreographer, Alice Sheppard (she, her, hers). In 2016, Sheppard founded Kinetic Light as a place for disabled artists to create, design, and perform, working at the nexus of access, queerness, dance, and race.

I was privileged to attend the company’s performance on Sunday, February 19th, and on the following day, to have  a Zoom session with Sheppard and her partner Laurel Lawson (flexible pronouns). They were extremely gracious in sharing their thoughts about their work and  it was made clear by both Sheppard and Lawson that for Kinetic Light, “disability is not a deficit,” but “a powerful, intersectional creative force that is essential to artistry.”

Laurel Lawson and Alice Sheppard are back to back on a wood ramp in their wheelchairs, each with one arm extended toward the camera, heads tilted back. Laurel is a white dancer with cropped blue hair and Alice is a  multiracial Black woman with short curly hair; they both wear shimmery dark sleeveless costumes. Photo by J. Adam Fenster / University of Rochester

Laurel Lawson and Alice Sheppard back to back in their wheelchairs on a wooden ramp; photo by J. Adam Fenster/University of Rochester 

Sheppard envisions, choreographs and dances, and Lawson, also a choreographic collaborator and dancer, serves as the company's engineer and designer. Lawson has created  innovative software apps for numerous programs, including Audimance, the company's approach to audio description, and Access ALLways, a holistic approach to disabled-led equitable access.

Both artists rely on the talents of another brilliant wheelchair artist, Michael Maag (he, his, him), their scenographer. Maag, a 20-year resident lighting designer for The Oregon Shakespeare Festival, has won numerous awards for his lighting, video, and projection for theatre, dance, musicals, opera, and planetariums. Unlike other artistic projects where the lighting person comes in to set the piece once it is complete, Maag is a part of the process from the beginning. His work enables Kinetic Light to tell stories.

Under Momentum celebrates the joy of continuous motion. Performed in wheelchairs, the wheels used are specifically turned at an angle, to create a greater ease of motion. The dancers virtuosic movements are generated and supported by Sara Hendren’s Ramp Platform Kit — work of art in its own right. Under Momentum, as a result, is breathtaking.
 

A wide shot: Laurel is in foreground, tipping backwards in their chair as they balance on a wooden ramp. Alice is across the studio, mirroring Laurel. A wall of tall windows is behind them and a few audience members, some wearing headphones, appear in the lower corner of the photo. Photo by Filip Wolak/ Whitney Museum of American Art.
Laurel Lawson (foreground), Alice Sheppard (across the studio) mirroring Laurel; photo by Filip Wolak/Whitney Museum of American Art

 

The piece builds from a series of partnering and solo work, beginning with minor physical contact and culminating with full-body interaction. Each artist has an opportunity to reveal their individuality. At one point, Sheppard balances on one knee with her other leg outstretched as she magnificently holds her wheelchair above her head. Lawson executes a wild wheelchair dance over a series of ramps with various inclines.

The presence of danger makes the audience hold their breath and become fully invested in the risk of the event. Partnering goes from tender to  playful. At one point the artists, chase each other around the stage, clearly enjoying themselves and relishing taking us along for the ride.

Alice Sheppard and Laurel Lawson lay backwards in their wheelchairs, torsos and throats open. Alice is a multiracial Black woman with coffee-colored skin and short curly hair, and Laurel is a white woman with cropped blonde hair. They wear shimmery costumes in autumnal tones. A small set of wood ramps appear in the background. Photo by Noor Eemaan Jaffery/ Jacob's Pillow.
Alice Sheppard and Laurel Lawson lay backwards in their wheelchairs, torsos and throats open; photo by Noor Eemaan Jaffery/Jacob's Pillow
 

The entire experience  from entrance to exit was designed to be accessible for multiple, diverse populations.
There were ASL interpreters, before and during the program, as well as outside the theater,  after the piece.  As Lawson and Sheppard state, "Technology is used as a lever."

The audience is encouraged to respond however they wish. Many deaf and hard-of-hearing patrons stomped their feet and raised their hands overhead, shaking them with,  fingers spread wide open — this is the traditional ASL sign for clapping. Other audience members joined in solidarity.

There was an option to enjoy the event via "haptic soundtrack interpretation," which refers to vibrations generated though wiring. The Haptic Experience Design was created by Laurel Lawson with thanks to David Bobier & Jim Ruxton of VibraFusionLabs. Lincoln Center's large print and Braille programs are made possible in part by endowment support provided by AIG.

Laurel Lawson and Alice Sheppard dance around each other in a counterbalance turn. They gaze at each other as they hold forearms and extend their opposite arm. Laurel is a white dancer with cropped blue hair and Alice is a multiracial Black woman with short curly hair; they both wear shimmery dark sleeveless costumes. Photo by J. Adam Fenster / University of Rochester

Alice Sheppard and Laurel Lawson dance around each other in a counterbalance turn; photo by J. Adam Fenster/University of Rochester

A "Chill Out" space was another interesting component to this performance. Audience members were able to leave and re enter the show as needed.  This space contained sensory materials (offering a tactile experience) along with bean bag chairs and dim lights to provide a quiet place for showgoers.
 
When asked what Kinetic Light's plans are going forward, Sheppard says, “We're going to go back into the studio to explore and expand partnering and capacities to work."

It will be fascinating to see where this group goes next.


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