Visual Artist, Nalisha Rangel drew inspiration from The Three Yells recent project, A Crack In The Noise to produce these amazing art works which she is donating 100% of the proceeds from the sale to the Refugee Women's Alliance.
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A Crack In The Noise
FEBRUARY 2019 @ Cornish Playhouse At Seattle Center
On December 17 a short film by Scott Levy popped up on my FB feed under the Three Yells banner. It presented a fast montage of movement in rehearsal for Veronica Lee-Baik’s “A Crack In the Noise”. Though not a newcomer to Lee-Baik’s work, I was astonished how Levy had captured the essence of what I see when I watch the Three Yells. The elements of pain and power in all Lee-Baik’s work punched me back in my seat again though the dancers were not in costume (always designed by Lee-Baik) and were dancing against white walls and floor, not the the intense lighting and projections she uses.
I watched it 4 times through that sitting. I couldn’t imagine what I would experience in performance.
In the theater I found the enormous blank cement back wall again Lee-Baik uses so effectively as a canvas for dancers to move against. But, more prominent than that was, mid stage, a large 75 foot square pool with two inches of water in which the entire performance would be staged. Hanging into the water three cocoon-like bags with upright bodies slowly moving in them.
As a prelude, two women assumed the thrust. One sat on a stool as the other shaved all the hair from her head, carefully wrapped the shorn locks in paper and presented it to the seated woman. Two minutes into thew show and my brain was reeling.
But the water.
It forced me to see movement in different ways.
It moved to the dancers movements, rippling.
Its movement created moving light reflections everywhere.
When it was still it created reflections, doubling and at times quadrupling the moving dancers.
The spray from hands and feet extended the dancers movements far into the air and audience.
The splashing sound created a depth of experience I’d never witnessed.
The plight of refugees and immigrants illustrated by regimented movement, shaved heads, mournful vocalizations, bare lightbulb swinging dangerously feet from the water moved me deeply.
A moment of stillness as the dancers lay unmoving in the water brought to mind the photo of bodies floating off the turkish coast.
After the show an ardent supporter of Lee-Baik’s mentioned that when they heard there would be water worried that it would be “over the top”. Her tackling of large themes in large ways does risk this.
But I wouldn’t have it any other way. - Bruce Dalzell
"I had the pleasure of seeing The Three Yells' performance of A CRACK IN THE NOISE last night. It was one the most unique and amazing live performance experiences I've ever witnessed. Colors, shapes, design and environment blended perfectly to create an atmosphere not unlike witnessing an ancient ritual from a forgotten yet universal culture. If you live in the Seattle area, do yourself a favor and catch the last performance tonight!" - Richard Reynolds
"Your show was stunning, dark, beautiful, REAL. I was, as always, incredibly inspired by all that you have accomplished. From the moment it began, with the woman getting her hair shaved on stage (my friend and I couldn't believe it! The whole audience held their breath). You are one of the deepest thinkers I know, and I love how you embody those feelings/thoughts through the dancers you choose. They, btw, were amazing. I could tell how invested each of them were by the way they inhabited their bodies. Something bigger was coming through each of them. Maybe it was the shaved heads, but they seemed so much like one being, yet when you looked closer, each one moved in their own unique way. Bravo to all of you!" - Aleah Chapin
"I experienced brilliance in the work of Veronica Lee-Baik with A Crack in the Noise at the Cornish Playhouse. Veronica addresses deep, relevant issues about immigration in an utterly beautiful way through unique watery staging making the utmost use of it from subtle to sublime. One of the best contemporary dance productions I've experienced." - June Sekiguchi
Thank you Veronica, for the potent
work last weekend. I often feel moved
and even swept away by your work
it’s ambitious vast and full, the images
you make me sink in over and over and over
As they keep returning, ending, disappearing and then returning and returning. There is something perpetual, without easy solution or answer. At times the work seems punishing to the dancers not because of something virtuosic but rather because of the constant commitment, it’s a bit like being witness to a fugue or a fevered dream, and I'm always so grateful that your world are also full of sisterly camaraderie and connection. Connection, the unison, which is all about return return return is where the connection is most vivid, things cannot be completed except by everyone and this is another element that strikes me as old-fashioned today: WHAT IS ENSEMBLE
All of your dancers and collaborators trust your vision completely, you drive the ship
Ensemble is mighty difficult, and most artists stick to small groups of people these days.
A duet a trio a solo. You work with 12 stunning artists, who connect engage and live together in your world. They complete each other. There is an awareness when in duets or solo that this world is still continuous, still interconnected. The use of vocabulary that everyone shares, broken down, deconstructed and reconstructed, smaller in scale, precise or blurry, personal or mechanical, alll vivid connections. Never a single moment that is not within the world.
Your work is not lean but rather immersive, it’s not efficient but rather inevitable. And in the end how close is a laugh to a painful screech out into this world? I’m so so so glad you made this work with these women and of course cannot wait to see what’s next from you.
Oh and on another note the fastidious making of paper airplanes, and recognizing after that they contained quotes from the many immigrants you interviewed is a way in which the audience is perpetually gifted reminders the work is more then something to be swept away after watching but is to carried away. Sure it’s light, and disposable but it is also unfoldable, also a vehicle and I was very touched to read those words from those people. I love many of them with all my heart and it aches with their “othering” our world does to them. - Vanessa DeWolf