I went to see Michael Clark's Barrowlands Project as I knew I few people in the community cast and I'd heard wonderful things about the choreography.
I wasn't disappointed. The performance was stunning, shocking, technically brilliant and visually spectacular. The community cast were a highlight for me, I'm not sure if it was because I knew people in it or not, though I do love mass choreography. Just seeing everyone moving together, crossing patterns, making geometric shapes and coming on and off the ballroom floor with speed and accuracy was really really exciting! The Barrowland ballroom made for an atmospheric back drop, perfect for Michael Clark's work as it has a sort of dark, slightly dingy-vintage appeal.
The music really suited the choreography, and the company made use of the space, creating depth and height to otherwise simple but effective movements. Female dancer Kate was a favourite of mine, her feminine strength and height (ok, I'm bias as a fellow tall person) were mesmerising, and she performed with such ferocity and control. All of the company had amazing strength, particularly core strength which was obvious from Michael's use of floor work and suspension. The hanged man had me holding my breath while the community section had me out of breath, trying to keep a track of what was coming next.
Wonderful setting, wonderful choreography, wonderful dancers....just wonderful!
Showing posts with label dance house. Show all posts
Showing posts with label dance house. Show all posts
Sunday, 7 October 2012
Friday, 29 October 2010
Document 8 and Maryhill Integration Network
Document 8, a forward-thinking film and performance festival took place this week at the CCA in Glasgow. My interest lay in the story of Iranian dancers, who were exiled for their passion, dance treated as a crime.
This real-life Footloose story affected me deeply, even imagining dance and the arts being illegal leaves me feeling empty and restricted. After seeing the documentary film, I really appreciated how dance can be free and uplifting, bringing people together in a community, much more than a technique or performance art.
The performance by Maryhill Integration Network was colourful, energetic and to the point. I struggled to forgive the poor attempts at Highland dancing until the younger members of the cast began their freestyle section, showing individual character, expression and freedom. The cast communicated the highs and lows of living in their home nations and their journeys since living in Glasgow. It is hard to fault this group, as technical performers they may be lacking in experience but they are so much more than performers. These are real people, telling a story through movement which we can all relate to. The integration network brings these people together and gives them a common goal where their creativity can blossom.
Language barriers are never an issue when conversing through movement. This performance shed light on the differing cultures living in the city of Glasgow, beautiful interactions, free choreography and engaging personalities. A thoroughly enjoyable evening.
This real-life Footloose story affected me deeply, even imagining dance and the arts being illegal leaves me feeling empty and restricted. After seeing the documentary film, I really appreciated how dance can be free and uplifting, bringing people together in a community, much more than a technique or performance art.
The performance by Maryhill Integration Network was colourful, energetic and to the point. I struggled to forgive the poor attempts at Highland dancing until the younger members of the cast began their freestyle section, showing individual character, expression and freedom. The cast communicated the highs and lows of living in their home nations and their journeys since living in Glasgow. It is hard to fault this group, as technical performers they may be lacking in experience but they are so much more than performers. These are real people, telling a story through movement which we can all relate to. The integration network brings these people together and gives them a common goal where their creativity can blossom.
Language barriers are never an issue when conversing through movement. This performance shed light on the differing cultures living in the city of Glasgow, beautiful interactions, free choreography and engaging personalities. A thoroughly enjoyable evening.
Friday, 25 June 2010
Birth Control
What gives a woman an identity? I think that identity is something that most of us seek, and though it can at times make us the same it more often than not drives us apart. Are we restricted by culture, fashion and outside opinions?
What all women can share, if they choose to, is the natural experience of childbirth. According to Kate E Deeming, performer and choreographer of “Birth Control”, it is during labour when a woman finds her true voice.
The pre-show discussion gave me an idea of what I might expect from this work and the audience were chatty and enthusiastic about the issues she had raised concerning identity. Without warning other than “this could get a bit weird”, Kate E’s screaming and groaning silenced me as her piece took form. Initially unaccompanied, I felt a little uneasy watching what looked to be someone giving birth. Perhaps this is because I am not a mother myself, but neither is Kate E, which ironically intrigued me and held my attention. I couldn’t understand why someone could have such a fascination with something they hadn’t experienced themselves but I was soon engrossed.
After an initial feeling of discomfort, the piece transformed into an unidentifiable moving figure, having been re-born and moving freely and fluently. I was struck by the way the suitably-coloured blue scarf hid Kate E’s face, a colour in the past reserved for royalty. My attention was drawn to the movement of the body, the body seeming to move unconnected to the person, exactly as Kate E intended.
I feel that women enjoying their bodies and feeling comfortable and free in the way they move is rare. I left this work-in-progress feeling lifted, free and inspired as a woman.
I am interested to see how this piece develops and into what type of performance. My feeling is that as a theatre/cabaret piece, it doesn’t work in its current form. I feel that more movement by way of an introduction before the birth would be necessary to engage the audience from the start. This way, I think that the audience feel more comfortable in witnessing the intimate and vulnerable movements of the birth. As Kate E said herself, the piece would be suited to film and she will be continuing to work on this piece well into 2011.
Overall, the piece was free and inspiring, once I got over the shock of the initial material! By collaborating with musician Simone Welsh and communicating through instrumental and body percussion, I feel that the piece would appeal to music, dance and art enthusiasts alike. I hope that Kate E continues to develop “Birth Control” with Simone and further investigates how to communicate using the body of the unidentifiable mover.
What all women can share, if they choose to, is the natural experience of childbirth. According to Kate E Deeming, performer and choreographer of “Birth Control”, it is during labour when a woman finds her true voice.
The pre-show discussion gave me an idea of what I might expect from this work and the audience were chatty and enthusiastic about the issues she had raised concerning identity. Without warning other than “this could get a bit weird”, Kate E’s screaming and groaning silenced me as her piece took form. Initially unaccompanied, I felt a little uneasy watching what looked to be someone giving birth. Perhaps this is because I am not a mother myself, but neither is Kate E, which ironically intrigued me and held my attention. I couldn’t understand why someone could have such a fascination with something they hadn’t experienced themselves but I was soon engrossed.
After an initial feeling of discomfort, the piece transformed into an unidentifiable moving figure, having been re-born and moving freely and fluently. I was struck by the way the suitably-coloured blue scarf hid Kate E’s face, a colour in the past reserved for royalty. My attention was drawn to the movement of the body, the body seeming to move unconnected to the person, exactly as Kate E intended.
I feel that women enjoying their bodies and feeling comfortable and free in the way they move is rare. I left this work-in-progress feeling lifted, free and inspired as a woman.
I am interested to see how this piece develops and into what type of performance. My feeling is that as a theatre/cabaret piece, it doesn’t work in its current form. I feel that more movement by way of an introduction before the birth would be necessary to engage the audience from the start. This way, I think that the audience feel more comfortable in witnessing the intimate and vulnerable movements of the birth. As Kate E said herself, the piece would be suited to film and she will be continuing to work on this piece well into 2011.
Overall, the piece was free and inspiring, once I got over the shock of the initial material! By collaborating with musician Simone Welsh and communicating through instrumental and body percussion, I feel that the piece would appeal to music, dance and art enthusiasts alike. I hope that Kate E continues to develop “Birth Control” with Simone and further investigates how to communicate using the body of the unidentifiable mover.
Tuesday, 8 June 2010
Journey Dance Company "Prey" Work in Progress
Laura Forbes, artistic director of Journey Dance Company dances in and presents her latest choreographic piece, “Prey” as a work in progress. This sharing, at Dance House was developed further from a previous residency at Dance Base and involves BA dancers from LIPA and Edinburgh’s Telford College, where Laura herself graduated in 2008.
Laura’s ideas developed from natural relationships between predators and prey, her dancers revealing something about themselves in their movements. “Prey” was, to me, a vivid and exciting piece, bringing to the audience the personalities of four individually powerful dancers, who together produced an alluring performance.
With open windows in the Glasgow City Centre Studio, my concern lay with my attention span with so much background noise. I need not have worried. From the moment Jo Jeffries began to slowly explore the space in front of me, I was captured by “Prey”. Laura Forbes’ choreography is mesmerising, she has considered every part of the dancer’s body during each careful choreographic step. Agnes Bell’s light fingers traced the ground with an intricate path along which her body then followed. This style of movement lent itself well to the intimate nature of a studio sharing and I am interested to see how Laura develops such expression for the stage.
Joined by Laura herself and Sophia McGregor, the dancers related beautifully by means of a web-like elastic. This brought another dimension to the piece when Jo entrusted her with the care of this material. My reaction to this was natural, as if we had all been part of the idea in the beginning, a hugely successful outcome to the sharing, whether or not it was a choreographic intention!
I felt each dancer brought their personality to the piece and created four very different characters that could be further developed. Satya Dunning of Dance House discussed development with Laura and suggested that she continue to develop this piece, even after she tours in June. My feelings reflect those of Satya as I think that Laura would enjoy having more time to look into the themes of the piece and continue to develop solo material for her dancers.
Journey Dance Company created, for me, a special bond between the dancers and audience. This is an enchanting piece of contemporary dance, on which I must commend Laura Forbes and her company dancers for putting across so beautifully. I am looking forward to watching this piece grow and adapt to new spaces on its tour.
See “Prey” this month with Foundations Dance Collectives’ tour, “Founding Roots”.
Laura’s ideas developed from natural relationships between predators and prey, her dancers revealing something about themselves in their movements. “Prey” was, to me, a vivid and exciting piece, bringing to the audience the personalities of four individually powerful dancers, who together produced an alluring performance.
With open windows in the Glasgow City Centre Studio, my concern lay with my attention span with so much background noise. I need not have worried. From the moment Jo Jeffries began to slowly explore the space in front of me, I was captured by “Prey”. Laura Forbes’ choreography is mesmerising, she has considered every part of the dancer’s body during each careful choreographic step. Agnes Bell’s light fingers traced the ground with an intricate path along which her body then followed. This style of movement lent itself well to the intimate nature of a studio sharing and I am interested to see how Laura develops such expression for the stage.
Joined by Laura herself and Sophia McGregor, the dancers related beautifully by means of a web-like elastic. This brought another dimension to the piece when Jo entrusted her with the care of this material. My reaction to this was natural, as if we had all been part of the idea in the beginning, a hugely successful outcome to the sharing, whether or not it was a choreographic intention!
I felt each dancer brought their personality to the piece and created four very different characters that could be further developed. Satya Dunning of Dance House discussed development with Laura and suggested that she continue to develop this piece, even after she tours in June. My feelings reflect those of Satya as I think that Laura would enjoy having more time to look into the themes of the piece and continue to develop solo material for her dancers.
Journey Dance Company created, for me, a special bond between the dancers and audience. This is an enchanting piece of contemporary dance, on which I must commend Laura Forbes and her company dancers for putting across so beautifully. I am looking forward to watching this piece grow and adapt to new spaces on its tour.
See “Prey” this month with Foundations Dance Collectives’ tour, “Founding Roots”.
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