There was a surprise eleventh act when the Ten Tiny Dances hit the (tiny, natch!) stage at Jazzbones on Saturday.

Kate Monthy of MLK Ballet and Mary Mabry of the Tacoma Dance Collective matched like physiques and physical skill together to bring a black and white, white and black extension of one-ness to the (diminutive) stage; this happened a little past midway through an evening where tap and sax, tantric sex, working class love by the train tracks, and relationships in a media age (with afro wig!) were explored, alongside themes of collaboration and communication.

I particularly liked that my seat was, thanks to the KAke and Ms. Jennifer Johnson, Jazzbones GM extraordinaire, kick-ass and front row.

There, I could focus on the feet.

No, really.

Alexa Folsom-Hill mentioned “the Life of a Dancer” at the last MOVE!, and I’ve been pondering the point.

Talking to Mike Barber, Portland-ite and founder of Ten Tiny Dances, the point came closer to home: en route to Tacoma, the group had a vehicle break down, and they had to deal with rental car hassles, stress, and mayhem.

They persevered, to bring their version of accessible dance to out fine town, and eventually arrived.

And then, driving the “life of a dancer” point home with a hammer, the Ten Tiny Dances showed bare-footed dancing in all it’s calloused, bent-toed, strong glory.  These feet stretch, reach, and express the way many of us would like our bodies and faces to, while showing that the road to becoming strong and expressive is not a smooth one.

On a big stage, en pointe, you never get a chance to see the true story.

In the round, on a four foot stage, where dialogue and music meld intriguingly with a discipline that’s frequently airbrushed, the stories unfold in intimate, intriguing, affecting ways.

And it’s a world-rocking thing. â€" Jessica Corey-Butler