Malashock Value

THE AUDIENCE SITS MESMERIZED on a cold winter night as they watch a preview of Fathom: The Body as Universe. The production, four years in the making, is the combined vision of San Diego choreographer John Malashock, Israeli composer Ariel A. Blumenthal and Japanese artist Junko Chodos. Their goal: to combine dance, music and visual imagery in a way that represents the evolving struggle for creative and spiritual enlightenment, a struggle that can be resolved by tapping into an inherent “knowing” we all possess. To succeed, every component of the show has to be emotionally charged.

As Blumenthal’s dramatic symphonic score begins, seven dancers twirl and circle each other, positioning their limbs in graceful extensions. The kaleidoscope of movement occurs against a backdrop of abstract collage that hangs from the ceiling in 12-foot panels. Sweeping brushstrokes and intricate detailed imagery allude to the mountains, the sea and the cosmos. Chodos applied a combination of charcoal and acrylic paint to give the panels a multidimensional effect, so tiny specks of gold and blue color reflect the spotlight and create a starry effect.

The dancers disperse, and an eloquent duet follows, danced by a tall blond male and petite raven-haired female. Their appearance evokes contrasts of dark and light, muscular and fragile; in a series of sensual lifts and embraces, the couple suggests alternating themes of dependence and freedom.

Fathom was inspired by the work of Kukai, a Japanese monk and scholar who lived in the ninth century and established the Shingon or “True Word” school of Buddhism. He believed there are three mysteries that contain the secrets of the universe: the body, speech and the mind.

“One of his central tenets is that the body is the best vessel or vehicle for understanding everything there is to understand,” says Malashock. “You don’t have to look outward in the universe; you can look inward and find it all there. It’s a profound subject for dance. I wanted to add my own Jewish background and my thoughts about spirituality and how we use our personal capabilities. There are ideas in the kabbalah tradition that are interesting parallels, and we are exploring those ideas in our own way.”

The dancers wear kimono-inspired costumes, and each of the choreographed scenes in Fathom represents themes of ceremony and ritual, magic and sorcery, sexual energy and the connection between heart and mind. The complete version opens this month at the Stephen & Mary Birch North Park Theatre.

Blumenthal’s original score moves from lyrical mood pieces to driving rhythms that incorporate symphonic rock and electronic music. Portions of the score showcase a live percussionist and members of the San Diego Master Chorale singing text in Chinese, Japanese, Hebrew and English.

“The intention is not to convey a message through the text, but to add musical texture,” says Malashock. “In talking with a Buddhist nun, while researching the project, she said an interesting thing: ‘The blessing is in the sound.’ ”

Though Fathom took years to develop, Malashock found that many of the movements and ideas he had for the project seemed to materialize without forethought.

“I’ve often had an experience while creating work that there is a sort of wisdom of the body where movement will just come out,” he says. “I’m not thinking about it, and it’s not something calculated. There are times when the body naturally expresses a kind of truth. That resonated with me a lot.”

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(Fathom: The Body as Universe opens May 12 at the Stephen & Mary Birch North Park Theatre, 2891 University Avenue, and continues through May 21. Information: 619-260-1622; malashockdance.org.)

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