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Several years ago I wrote an article about scientists investigating the neuroscience of forest bathing. Most of us feel calmer and more grounded after walking among trees, but what exactly is happening in our brains to make us feel that way?
I’ll refrain from garbling the brain science, but basically, it comes down to shapes. There’s something about human synapses that respond positively to organic geometry like curves and fractals — in contrast to the forced rectilinearity of built environments.
Another way to engage with fluid forms? Go see dance. Specifically, the new mixed bill The Seasons’ Canon at Pacific Northwest Ballet (April 12-21). It’s a short but powerful lineup, and regular ArtSEA readers won’t be surprised to hear that I’m most excited for the eponymous piece by Vancouver, B.C., choreographer Crystal Pite.
My admiration for her work involves road trips to B.C. whenever she premieres a work, and my own slightly obsessive annotation of her signature moves. Watch for birdlike flicks, smooth ripples and murmurations in this eye-popping piece, last performed on the PNB stage in 2022 to rave reviews (including mine).
Set to Vivaldi’s The Four Seasons as “re-imagined” by British composer Max Richter and played live by the PNB orchestra, the contemporary piece features more than 50 dancers and a whole lotta undulating curves and shapes found in nature. As the seasons progress the dancers resemble ocean waves, spring’s floral fling and falling leaves — all with an achingly human undertone.
Also on the bill is Twyla Tharp’s “Sweet Fields,” a flexed-foot ode to Shaker shapes, and Jessica Lang’s poignant piece “The Calling,” which positions a solo dancer at the center of a huge circle skirt, their exposed torso twisting up like the top of a Hershey’s Kiss.