Every person in Los Angeles, dancers and non-dancers alike, has rushed to The Music Center to witness the moving bill split between “The Rite of Spring” and “common ground[s]”. Pina Bausch has a legacy throughout the dance world and beyond, and it was clear that this performance drew the best of all the people, in all walks of life, that admire her work.

The split bill began with a co-choreographed duet and performance by Germaine Acogny and Malou Airaudo, both dancers with established careers, Acogny being known as the mother of African contemporary dance and Airaudo having worked closely and extensively with Bausch herself. Their performance was profound; it was simple, yet charged with a depth that made me treasure the relationship that was unfolding before me. Objects were laid purposefully throughout the stage before the women began - two wooden seats, two buckets of water, wooden sticks, and rocks - each with its own spotlight. The piece begins with Acogny and Airaudo sitting on their respective wooden seats sharing a wooden stick; as the piece goes on, they find their way to each other and back away. The pair navigated themselves through the stage in a way that felt as if they were gliding; it was a journey of play and of friendship between women who continue to find humanity. They share weight in embraces but, more importantly, they share sensitivity through a relationship that sees multiple versions of each other. With care, Airaudo traces Acogny’s body with the stone and proceeds to wash her back with it as well; it was a breathtaking moment of simplicity that absorbed the entire theater. It was deeply touching to witness dance artists Germaine Acogny, at 70, and Malou Airaudo, at 74, present this piece on stage, not only because they were inspired by Bausch’s legacy but also due to the age and grace with which they held the proscenium stage. We are often told that dance careers are short due to the demands made on our bodies but clearly “common ground[s]” has demonstrated that movement belongs to no particular age, and virtuosity may not be as important as we think it is or a piece of art to be felt profoundly.

The final piece of the night was Pina Bausch’s “The Rite of Spring” performed by 38 dancers from countries across Africa, with a large majority hailing from Senegal. This performance was transformative to say the least. It was communal; even though the group of women and men separated themselves respectively, they shared a collective body, mind, and soul.

These dancers added a layer to the iconic repertory that brought it to another level. The dancers, all hailing from different regions across Africa, brought together a melting pot of cultures and movements from their particular regions reflected through the dancers’ bodies - we are all a product of our environment, both in the movement of life and in our bodies. So much of traditional African dance is deeply grounded and communal; as is so much of the idea behind “The Rite of Spring”. It culminated in a performance that showcases the intensity of humanity, the longing, the chaos, the community - all embedded into the human experience.

This evening of dance, inspired by the legacy of Pina Bausch’s work, was unforgettable. I am appreciative of their choice to bring these pieces to Los Angeles; all those who witnessed it will be inspired for weeks and years to come. And hopefully, we will be committed to living our lives with the same attention to sensitivity and humanity that the performers shared with us.