Blood, bone, and mirrors  Prometheus at the ICA By MARCIA B.
SIEGEL  |  May 19, 2009  WARP Somewhat encumbered by scenic
elements that all seem to reflect or conceal the nine women and
their inner selves.  At the beginning of Between Blood & Bone, a
man and a woman stand at opposite sides of an empty space. A few
minutes or a lifetime later, they're curled together on the
floor, wrapped in the tightest possible embrace. The dance that
carries them from alienation to dependency is an excerpt from
the 2003 evening-length Apokalypsis, by Diane Arvanites and
Tommy Neblett, co-directors of Prometheus Dance, part of the
program they presented at the Institute of Contemporary Art last
weekend.  Arvanites and Neblett are carrying on the tradition of
expressive modern dance, the idea that movement can be not just
a physical act but a sign of deeper human experience. In their
Blood & Bone duet, the choreographers approach each other, their
earthbound steps stained with the folklike sorrows of a score by
Greek composer