{"id":104663,"date":"2016-11-08T15:00:48","date_gmt":"2016-11-08T20:00:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=104663"},"modified":"2016-11-10T12:44:21","modified_gmt":"2016-11-10T17:44:21","slug":"o-rangasayee","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/11\/08\/o-rangasayee\/","title":{"rendered":"O Rangasayee"},"content":{"rendered":"<p><em>Mark Morris brings back his iconic solo dance.\u00a0<\/em><\/p>\n<div id=\"attachment_104664\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/morrisdance.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-104664\" class=\"wp-image-104664\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/morrisdance.jpg\" width=\"600\" height=\"450\" \/><\/a><p id=\"caption-attachment-104664\" class=\"wp-caption-text\">Mark Morris in the original performance of \u201cO Rangasayee,\u201d 1984. Photo: Beatriz Schiller<\/p><\/div>\n<p>A young saddhu, a lone devotee, with nothing to his name but passion for the form of god he\u2019s chosen to worship and the rag of a dhoti wrapped around his loins, crouches in a ball in dim golden light at the back of the stage. He slowly raises his head and shoulders, stands, and strikes a pose. Then another. The poses form a sequence. They\u2019re reminiscent of figures in Indian temple sculpture, but not quite classical somehow. One arm is outstretched like an arrow; the hand on the other, palm outward, covers eyes that gaze up and away. Or his hands hang limply from his arms, bent like dog paws. Or, with both palms down and open toward the audience, his head bobbles on his neck, looking like something between an elegant Indian dance move and a camp imitation of a kitschy Eastern European tchotchke\u2014you know, the one your mother brought back from Romania. His torso welcomes torque. His fingertips and palms are painted betel red. So are the outlines of his feet. A sitar whines, a tabla strikes, a raga singer with a plaintive voice wills the devotee to action.<\/p>\n<p>Thus begins \u201cO Rangasayee,\u201d by Mark Morris, one of the great modern dance solos of the twentieth century. Morris made this work for himself as a young man early in 1984. In December that year, he performed it as part of a sensational program in <small>BAM<\/small>\u2019s Lepercq Space, after which <em>The New Yorker<\/em>\u2019s Arlene Croce anointed him the Next Great Thing and he exploded onto the scene. It\u2019s not clear how the audience that night had found their way there\u2014I knew someone who worked a restaurant kitchen with some company members\u2014or what they were expecting\u2014but had a meteor crashed through the ceiling and landed smack in the middle of the gymnasium-like space, smoking and spitting flames at the bleachers, it wouldn\u2019t have been met with a greater sense of awe.\u00a0<!--more--><\/p>\n<p>\u201cO Rangasayee\u201d has been out of repertory since then. When Morris included it last week as part of the Sounds of India series he brought to this year\u2019s White Light Festival at Lincoln Center, many in the audience were too young ever to have seen it before. Morris isn\u2019t much given to reviving old work, nor to resetting roles he made for himself on other dancers. And the prospect of seeing someone else execute them\u2014above all this one, perhaps\u2014seemed as daunting to this viewer as it must have been to the dancer taking it on.<\/p>\n<div id=\"attachment_104665\" style=\"width: 460px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/markmorrisnewdancer.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-104665\" class=\"wp-image-104665\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/11\/markmorrisnewdancer.jpg\" alt=\"markmorrisnewdancer\" width=\"450\" height=\"680\" \/><\/a><p id=\"caption-attachment-104665\" class=\"wp-caption-text\">Dallas McMurray performs \u201cO Rangasayee.\u201d Photo: Stephanie Berger \/ Courtesy Lincoln Center<\/p><\/div>\n<p>Dallas McMurray, one of the Mark Morris Dance Group\u2019s senior members, doesn\u2019t have the tangled mop of dark locks to shake that Morris did back in the day. Nor does he move with Morris\u2019s weighty, sculptural presence. But McMurray has much to bring to the role: an androgynous quality every bit his own; a forlorn, impassive expression, as if he\u2019s resigned himself to be possessed by dance and deity; and a body, not unlike Morris\u2019s then, that\u2019s massively strong and babyishly ungainly.<\/p>\n<p>The twenty-minute course of \u201cO Rangasayee\u201d is a marathon by any measure, and by the end McMurray was glowing with sweat. The quirky movements, sequences, and poses that comprise the choreography reappear again and again, starting to become friendly, reassuringly familiar, then beautiful; the mind welcomes their repetition with subtle variations as it might the tones of a mantra. Then the piece accelerates. Bliss overwhelms the dancer. He is possessed. There\u2019s no way to fake this, and McMurray inhabits the whirlwind as if life depends on it. To call the audience entranced would restore that word to its original meaning. Entranced we were, and so was he. McMurry ends in spasms on the floor. He has given in, been taken over, and offered himself up.<\/p>\n<p>Part of the genius of \u201cO Rangasayee\u201d is that it returns one of the oldest and hoariest of modern dance tropes\u2014the exotic Eastern solo of Denishawn days\u2014to its primal roots in the ecstatic. This layering of homages both to antique and modern dance sources characterizes other of Morris\u2019s greatest work. But, like the headwaters of the Ganges, nowhere else is it as bracingly clear and pure as here. Morris by now has a substantial history of rich engagement with India and Indian dance forms, and was thus the ideal choice to curate this festival. But this powerfully transporting youthful work preceded all his visits and studies and lengthy stays. That \u201cO Rangasayee\u201d distilled something so essential so early, and with such brilliance, may be an argument in favor of reincarnation. It is a dancer\u2019s credo.<\/p>\n<p>\u00a0<em>J<\/em><i>eff Seroy is senior vice president at Farrar, Straus and Giroux and one of the<\/i>\u00a0Daily<em>\u2019s correspondents<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mark Morris brings back his iconic solo dance.\u00a0 A young saddhu, a lone devotee, with nothing to his name but passion for the form of god he\u2019s chosen to worship and the rag of a dhoti wrapped around his loins, crouches in a ball in dim golden light at the back of the stage. He [&hellip;]<\/p>\n","protected":false},"author":811,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[25630,55,6306,25631,1048,4885,12019,25629,25632],"class_list":["post-104663","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-dallas-mcmurray","tag-dance","tag-dancers","tag-denishawn","tag-india","tag-lincoln-center","tag-mark-morris","tag-o-rangasayee","tag-solo-dance"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>O Rangasayee: Mark Morris Revisits His Iconic Solo Dance<\/title>\n<meta name=\"description\" content=\"Jeff Seroy on Dallas McMurray\u2019s new version of Morris\u2019s 1984 classic.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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