NextMove Dance presents Company Wang Ramirez's 'Monchichi'

Monchichi portrays the experience of an intercultural couple, beginning with a scene evoking the creation of the Biblical first couple, Adam and Eve. Low lights revealed a tree near the back of the stage and Wang in the center, her form reduced to a silhouette. Wang appeared to be alone as she moved her arms, when suddenly Ramirez appeared from behind the tree. Monchichi was full of similar innovations in movement, lighting, and staging. Even with just two dancers onstage, sometimes only one, this hourlong performance flew by.

Lovers' quarrel

Movement and touch constitute a means of communication, one partners may use when they don’t share a common language. Monchichi spoke this way as Wang placed her hand on Ramirez’s shoulder, Ramirez pushed her away, and both swung their legs carelessly in a gesture of indifference. Couples may relate to the frustration suggested in Monchichi’s recurrent play-fighting, in which one dancer seemed to strike or shove the other.

The sparring incorporated martial arts flavor, while the influence of breakdance and hip-hop appeared in Wang’s body rolls, Ramirez’s moonwalk-like steps, and both dancers’ robotic arms. In spite of the mechanical qualities of some of the movement, both performers, especially Wang, danced with remarkable fluidity, so that their changes in steps, direction, and momentum were seamless. Here was evidence of Wang’s ballet training, helping to convey the crucial illusion of live dance: the combination of technical skill, athletic prowess, and heart that makes incredibly difficult moves appear effortless.

In one segment, Wang moved her crouched body like a record on a turntable, supporting its weight on her arms. In another, Ramirez appeared to jump on her like a WWE wrestler, a visual trick made possible by their athleticism and grace.

Global village

Terrific lighting (Cyril Mulon) and set design (Ida Ravn) added more illusions, such as when red lights bloomed like buds on the tree. Cleverly, Ramirez took one onto his finger and passed it to Wang, who passed it back to him. Later, when she stopped moving, he used a light from the tree to reanimate her, then guided her movements like a puppeteer. Constant changes to the background lighting and levels of lighting transformed a simple set into a visually interesting environment that captured the feel of distinct locations.

Monchichi includes dialogue in several languages, and the speech shares the playful quality of the movement. At one point, Wang and Ramirez speak about nation, culture, and identity. Is she German or Korean? Is he French or Spanish? Spoken sections also reveal the meaning of the dance’s title. During Wang’s childhood in Germany, she used the name Ingrid to fit in better. This plan did not work: a man in the neighborhood expressed surprise that Wang spoke German well and nicknamed her Monchichi, which he felt suited more than Ingrid. If you survived the 1980s, you may remember monchichi: stuffed toy monkeys with human-like faces, created in Japan and distributed worldwide, which inspired cartoon series in various languages. Monchichi does not comment directly on this incident but instead simply reports it, gracefully allowing viewers to draw their own conclusions.

I found the story upsetting yet familiar, exemplifying the racism, chauvinism, and xenophobia that continue to permeate many parts of the world. However, Monchichi primarily focuses on the fun and possibility engendered by cross-cultural contact. In an open-minded world, cultures mix, multiple languages are spoken under one roof, various forms of dance blend together, and masculinity and femininity balance one another.