Between my trip to Mexico and the next one to Peru and Colombia, I spent a weekend in New York, and took the opportunity to go with my wife and her ex-husband to see “Kontakthof” by Pina Bausch dance company at the Howard Gilman Opera House Brooklyn Academy of Music (BAM).

Before the show we went to a South African restaurant in Brooklyn called Madiba. Interesting mix of flavors and decor, great seafood imported directly from Mozambique, rustic atmosphere and somewhat “hipster” but not too much despite being in Brooklyn.

The performance did not disappoint me, because since I saw the documentary “Pina” I have been a fan of her choreography. The group is very heterogeneous, and solid, and the varied and interesting performance, with moments of humor (which aroused reactions of “simplistic and reactive” absurd hilarity from the crowd) and moments of great tension as it reflected sexual abuse or body objectification of women by men.

Although it can be said that the choreography (let me call it “script” for its obvious figurative component) bears the passage of time, since it was created decades ago, as usual it is in the details where the voice of the author is, a window into her inner world, beyond social commentary that a superficial glance reveals. From the “deviant” character to the subtly different reaction (unconscious, natural, or rehearsed?) of each female dancer against male harassment, if we pay attention and go beyond the absurd (like the “ducks projection”) or the interesting but obvious multilingual broken stories, we find the richness and depth that elevate the play to the status of a masterpiece.