On a Friday afternoon earlier this month, a small group of people arranged themselves at the front of a dance studio on Carlebach Street to get a sneak peek at Pnina, Sally Anne Friedland’s newest creation. The gray-floored studio was reminiscent of a dry sauna seconds after the coals are doused with water, the wall-to-wall mirror masked in places by clouds of steam.
The three dancers of Pnina began by inching across the space as a unit, feet and hands in unison as they progressed towards the mirror. Their hand prints lingered long after they peeled themselves away, coming to rest against the back wall. Three heads arched back together for a split second before the organism separated into three distinct entities.