Sam Fink

MFA dancers Emily Duggins Ehling, Caroline Gonsalves Bertho, and Amarnath Ghosh pose gracefully (from right to left). (Courtesy of Lumosco Photo)

Over the past two years, three Master of Fine Art (MFA) in Dance students poured their hearts and souls into choreographing and bringing their artistic visions to life. Finally, on March 22 and 23, their dedication culminated in a mesmerizing performance at Edison Theater for the seventh annual MFA Student Dance Concert. This event marked the finality of projects by Emily Duggins Ehling, Caroline Gonsalves Bertho, and Amarnath Ghosh — who each not only choreographed a 30 minute performance, but also hand-built their stage props, designed their costumes, and picked their music. 

On Feb. 27, Ghosh tragically passed away just two months shy of completing his MFA degree at Washington University. However, before his untimely departure, Ghosh had meticulously crafted a short film as his final piece for the MFA program.

In a touching tribute to Ghosh’s memory, Ehling and Bertho chose to dedicate the entire show to him. Reflecting on this decision, Artistic Director Elinor Harrison said, “We consider ourselves fortunate to have a tangible piece from his project that we can showcase in his honor.”

Starting the show was Ehling’s piece “Ark.” With the first song having a slow and eerie feeling to it, the dancers, who were gathered in one corner of the stage, began to move in wave-like motions. Delicate and careful, they slid across the stage, flipped over their backs, and danced in rather irregular movements. As the piece progressed, sounds of wind chimes tinkled into the music, and insertions of child-like laughs and voices filled the stage. Following the new music, the dancers moved at a faster pace and became more synchronized with each other. The dancers seemed to be searching for something as they continuously grabbed towards the floor, which illuminated like gold under the stage lights. 

At the end, the music transitioned into a melancholy yet hopeful tone. With the sounds of crashing waves consuming the theater, it seemed like the dancers and the ocean finally found peace and harmony. 

When asked where Ehling drew inspiration for this project, she said, “I keep a poetry collection and tend to find relevant poems at the beginning of any new choreographic process. I am interested in Amanda Gorman as a young poet whose work is broadly known by a contemporary audience. After receiving two copies of ‘Call Us What We Carry’” for Christmas in 2022, I was compelled to use the poetry for an important project such as this one.”

Sam Fink

Emily Duggins Ehling (Courtesy of Lumosco Photo)

For the second part of the program, Bertho created “Swipe,” a piece focused on the digital world and how we as humans interact and are driven by technology. The dancers stormed onto the stage in strong, bold movements as a sharp, technological beat followed them. As the performance continued, an enormous installation in the shape of a sphere-like web emerged from the background. Dancers flew in and out of it — at first unaware of those outside of the sphere and then later copying those outside. The ensemble moved chaotically, shaking and twisting around frantically within the metal framework. The stark contrast between unfiltered choreography against sharp consistent lines created a duality that almost mimicked the nature of social media — what is behind and in front of the screen. 

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Caroline Gonsalves Bertho (Courtesy of Lumosco Photo)

“We are all here to support the vision of the artist and to bring their final product to fruition with all of the full artistic elements that they desire — even if that includes a 10 feet tall web installation,” Harrison said. 

Last, but certainly not least, was Ghosh’s performance, “Seasons.” Ghosh’s film was inspired by the Bengali poet Rabindranath Tagore who delved into the exploration of the six seasons in a cyclical manner: summer, monsoon, autumn, pre-winter, winter, and spring. 

Starting off with summer, the camera led us straight into India. The film’s accentuation of warm and red undertones alongside Ghosh’s sharp and quick motions accurately depicted the burning and dry summer heat. With the transition into monsoon, the audience quickly cooled off as the scene was welcomed by the pitter-patter of rain and the notes of blue scattered around. 

As the film progresses into autumn, a sense of change permeated into the atmosphere. The colors shifted into cooler tones in both clothing and background, and Ghosh’s movements became more deliberate, echoing the gradual transition of nature as it prepared for the colder months ahead. 

Moving into pre-winter, Ghosh captured the beauty of community and love as the scene unfolded with older women holding sparklers amidst fireworks, creating a warm and festive atmosphere despite the impending cold months. Ghosh eloquently portrayed the spirit of togetherness and the joy that transcends seasonal shifts.

Winter descended with quiet intensity, and spring emerged with a palpable sense of renewal and rebirth. The colors became vibrant once again, and Ghosh’s movements were imbued with a sense of vitality and energy, mirroring the awakening of nature after the long winter slumber.

Although Ghosh was unable to be physically present, his spirit and passion for dance permeated the theater. 

“We were committed to honoring his vision,” Harrison said.

Sam Fink

Amarnath Ghosh (Courtesy of Lumosco Photo)