(FOR WITHIN THIS DUST)

(FOR WITHIN THIS DUST)

(FOR WITHIN THIS DUST)

the poignant last farewell, unknown to them, of two lovers. A brave piece which also takes some courage to watch. The Herald – 4 stars THE dust from 9/11 will never truly settle. Not just because artists and performers continue to respond to the events of that day, but because – as the voice-overs in Smallpetitklein's six-part collage of live dance works, film, installation and soundscape make harrowingly clear – the powdery fallout from the debris is still causing ill health today. The images that inspired choreographer Thomas Small were, however, the photographs of so-called 'jumpers'. Falling Man, the solo that ends Within This Dust, references the outlines those bodies etched upon the air: but if Tom Pritchard's eloquent limbs bring those shapes alive, the intensity of his demeanour and of the words that ripple out like a stream of consciousness, compel us to address the full horror of the situation, and ponder what we would do if... Before this, flurries of white paper have suggested the shockwaves of crumpling concrete, the snowstorm of documents spiralling from blasted offices. S/He has tenderly explored the burden of grief and loss through the patternings of a male/female duet where the mirroring of moves, the counterbalances, the high lifts, all speak of a rapport that will, like those others who perished, fall victim on 9/11. Fest – 4 stars Among the images published in the aftermath of 11 September 2001, one of the most controversial was Richard Drew's photograph of a man falling between the twin towers. Taking as inspiration this picture and all it came to represent, Smallpetitklein's thoughtfully executed triple bill is not only a beautiful piece of dance, an elegy to the estimated 200 people who died in this way on 9/11, but also a sensitive reminder that theirs was a situation any one of us could have faced. In Embers, leaves of pure-white paper fall one by one from a bundle in Marta Masiero's clutch. Later she tosses and turns in the endless mass, singling out several pages and pressing them flat, each as individual in its shape as a person. The tragic beauty of S/HE continues to haunt long after it has finished. Masiero and Tom Pritchard evoke a deep sense of loss in this duet that sees them mirroring, gliding, lifting and balancing weightlessly against one another. Finally, Falling Man uses text from Tom Junod's 2009 Esquire article on Drew's famous image to echo movement that suggests not only the freedom of flying but also the terror of falling. There is a moment when,

lying prostrate, an unseen force pins Pritchard's legs and arms back. At the utter mercy of the elements he rides this wave peacefully for a few moments. When it passes, and he falls flat again, it seems that whatever circumstances came together to cause it, he has had his moment of grace. Across the Arts – 4 stars Weightless haunting shadows form images which float through and across the space. The piece, an extension and continuation from 'Falling Man', is composed out of six different responses to the events of 9/11. Aural, visual and physical, each section depicts different ideas to form a more holistic perspective on how the tragedy shook the western world in 2001. 'Embers', a solo surrounded by crushed up paper, a beautiful depiction of the weighty-heavy suppression of those who aren't there anymore, for me stood out as the gem in this piece; so many have chosen to examine those who fell, however the people who mourn are rarely chosen as the topic of 9/11 pieces. A poignant and evocative piece which builds a larger picture, drawn from the magnification of the image of one man.