Reflections on three visiting companies by Jeanette Bain

Three visiting companies, from three different locations, demonstrate the depth and scope that dance with African influence has to offer.

We must eat our lollipops with the wrappers on Robyn Orlin’s City Theatre and Dance Group; Saturday May 17, 2008; Birmingham Hippodrome

Performed as part of the Birmingham International Dance Festival, this interactive piece, focused on the HIV/AIDS epidemic in South Africa. The piece used live singing, theatre and dance to evoke the causes and impact of the epidemic. The cast, a highly skilled, multi-talented group of dancers, singers and actors, delivered a gripping performance.

The audience was taken on an emotional journey, which saw the performers building a relationship with us in various ways. As the audience entered the auditorium, we were met by performers standing and sitting in the aisles and on the stairs. During the piece, we were handed red lollipops a symbol for sexual relationships, frighteningly ironic in the context of the piece; our shoes were stolen and placed on stage, and we even had live video of our faces projected unto the backdrop and props. All this drew us into the piece, reminding us that we are not so far from the experiences depicted by the performers.

The performers transitioned seamlessly between gut-wrenching a capella renditions, vibrant African dance sequences, monologues and physical theatre; rife with irony, not one moment of the piece was ‘just for show’. Each scene and sequence revealed something more of the reality of the AIDS crisis. Lollipops is issue-based dance theatre at its very best.

The Rite of Spring Georges Momboye Dance Company; Saturday May 10, 2008; Wyvern Theatre, Swindon

This year’s Big Mission festival, hosted by State of Emergency, Swindon Dance and the Wyvern Theatre culminated with Goerges Momboye Dance Company’s take on The Rite of Spring. Based in Paris, Momboye cites a wide range of influences on his work, not least of which is African dance. This piece draws on African dance postures and nuances grounded feet, percussive movement, and rhythmic jumps, building these elements around a predominantly contemporary structure.
The very idea of re-interpreting Stravinsky’s iconic score is a bold one. However Momboye’s approach is subtle and fresh. The cast of 16 dancers weave in and out of geometric patterns, never losing their sense of individuality. The melodrama of Stravinsky’s score is difficult to match in movement, but the dancers hardly miss a beat. There are a few moments when the music just about overwhelms them, but these are few and far between.

The disappointment in this piece lies in the glimpses of new, interesting movement which never come into full view. It is difficult to grasp motifs and themes within the piece because there is so much going on. However overall, Momboye’s movement is engaging and his dancers perform with commitment and drive.

Havana Rakatan Ballet Rakatan and live Cuban Son band Torquino; Saturday May 31, 2008; Peacock Theatre

Havana Rakatan is an evening of beautiful, skillful dancing; a whistle-stop tour of Cuban music and dance; and a great night out. Complete with live music on stage, provided by Cuban son band Torquino, the show sometimes feel a bit pre-packaged but it never quite becomes airport art. Putting the dancers through their paces, as they perform a range of traditional dances displaying Cuba’s unique mix of African, Caribbean and Spanish heritage, there is no shortage of diversity in style. The performance features jazz, mambo, bolero, son, cha-cha-cha, rumba and salsa.

By far, the highlight for me was the live music and singing, which added depth and texture to the evening. From recognizable tunes like Guantana Mera and Bésame Mucho to less familiar ones, the songs were delivered with passion and commitment and the singers were pretty good dancers themselves. By the end of the performance, the audience was on their feet clapping, dancing and singing.