In the surreal atmosphere of a smoky dance hall, a timeless
place suspended somewhere between dreams and reality, the humanity,
dignity and unique charms of the Mexican people suddenly materialize
through the haze. In a nod to the golden age of Mexican cinema, this hand-to-
hand act unfolds in a smoky dance hall reminiscent of
Salon Mexico. Three porters proficient in the art of "flinging
acrobats in the air" hurl a flyer above their heads where she
performs intricate flips. Sometimes the porters hold her by
the hands and feet, turning her into a human skipping rope.
In a dance hall (complete with tables and chairs, a piano, band,
hanging lights, and more), the Adagio scene quickly unfolds whereby a young girl
(who dons a beautiful pink dress) precariously flies through an otherwise monochromatic
environment. Nothing can prepare you for the sheer exhilaration and
excitement watching Grezegorz Piotr Ros, Krzysztuf Holowenko, and Anton Glazkov swing,
bend, toss, and catch their fourth (either Naomi Zimmermann or Kelly McDonald - the
young girl in the pink dress) over and over and over again.
They say the land trembles as an enormous social and cultural movement teeming just
below the surface exists in Mexico. Trembling with enthusiasm for new ideas, hope and
strength; Trembling with the passion of the younger generations; Trembling with the
life of those who dream, those who color the days, and those who barely touch the
ground. The song “Tiembla la Tierra” (“The Earth Trembles”) accompanies, and you’ll
find no better embodiment of this movement than with the Adagio Quatour performance.
With its hauntingly beautiful live rendition, coupled with the amazing athleticism
of its performers, this is one of my most favorite acts in LUZIA, it’s simply