Review: Compagnie Kafig - "Corps Est Graphique"

Wycombe Swan, 28th May 2005 Reviewed by Maria Ryan

It's been quite some time since I felt the urge to get up and dance in the aisle at the theatre.

The last time was during the Alvin Ailey Company performance of 'Revelations' two years ago at Sadler's Wells Theatre. So it was an unexpected experience to be sat in sleepy High Wycombe's Swan Theatre and want to get up and try out some moves! (the theatre isn't sleepy just the town, I hasten to add).

To say I was impressed by the physical skills and presentation of this production by Compagnie Kafig is a massive understatement and I was pleasantly surprised by how well crafted the work was. In my opinion, generally when choreographers use hip hop movement vocabulary the choreographic structure and intention of the work is sometimes weak, but not this time.

'Corps Est Graphique' explores the nature of male/female relations, the dynamics between the two sexes and explores gender stereotypes.

Choreographer and artistic director Mourad Merzouki sets up a number of situations in which we see these relationships unfold using some clever, humorous, entertaining and remarkably physical choreography.

The curtain raises, and on stage we see a raised 'box' centre stage, three white door frames, three screens of different sizes and a fourth screen on the front of the raised platform.

Four men enter through the door frames with black and white cubes over their heads, reminiscent of the liquorice sweet character, Bertie Basset. They step forward slow and controlled as if walking on the moon, stopping to perform headstands and balances on their square heads. They exit through the door frames and these become the entrance and exit points throughout the piece.

Baggy pants and simple tops look as if they have been drawn on the dancers in graffiti style with warm oranges, yellow and reds soaked in to the material. The music by AS'N evokes a sense of an Arabic land, with an undercurrent of electro beats. The screens project images of skeletons mirroring the movements performed on stage, Arabic writing and various other shapes.

Four women enter and they body pop sensually across the space in unison, stepping in to cubes of light on the floor building pathways through the space before the men return to meet the women.

There are many sub-sections throughout the piece.

A rhythmic battle takes place between two men who bang out drum rhythms on the platform centre stage, sending images of circles bouncing from one screen to the other, like a game of table tennis.

Another conflict takes place - four men in a more traditional hip hop style compete to pull of the biggest, baddest moves. This section gets the audience whooping with delight at the spectacular back flips, somersaults, windmills, flairs and head spin challenges.

A dreadlocked, male dancer performs a solo on the platform which reminds me of 'The Predator' movie character, his creature-like, lockin' and poppin' give the impression that he is made of something much more pliable than bone.

A quartet, playful and cheeky, in which two men and two women open up the centre platform. They flip, dive, jump and move behind the platform. Whatever body parts we are unable to see are cleverly exposed on the screens as x-ray images of their missing body parts.

I hear myself screaming alongside the younger audience members after each demonstration of daring skill until, one by one the dancers flipped, spun, jumped and slipped behind the platform for the very last time.

Overall what impressed me most was the attention to production detail. The music and lighting compliment each mood of the various sections throughout the evening and when it comes full circle back to the beginning state, you feel you have been engaged in a roller-coaster journey with ups and downs of emotion. I felt completely satisfied and thoroughly entertained.

Merzouki's French-Algerian roots, his knowledge of martial arts, hip hop and circus skills have fused together creating an strong, individual choreographic voice. He has the ability to choreograph impeccably detailed hip hop movement that is well rehearsed. Merzouki transfers this predominantly freestyle genre from the streets to the theatre stage with panache and integrity.

The dancers who seem equally competent with contemporary movement vocabulary and the hip hop style which is impressively highlighted in a duet section between the four men and four women. But if I had to be picky, then I'd have liked to see the women perform more daring physical feats even though I know the argument about women not having as much upper body strength as men. Never the less, a refreshing evening. If you missed this company make sure you see them some time soon in the near future.