Very rarely do I go to the theatre to witness a phenomenal dance performance Sides 2016 offers an exclusive experience of dance, in particular FLAT by Shahar Biniamini.
In FLAT, the composition of the dance is so elaborate that it consumes the audience; we are taken away by a storm of movement. I stopped seeing choreography and became overwhelmed with dance, pure dance – movement from the core that disturbs your insides and ripples through your muscles into the last layer of your skin.
FLAT is a phenomenal dance work breathing movement to its innermost detail.
From the outset the choreography reminds me of the early works of Damien Hirst – blue spots cover the agile body of Adrian Skjoldborg in an intimate solo setting up the scene for the abstract however, human.
The dance is, simply put, genius – particularly in its spatial design without employing any theatrics or lighting tricks. Biniamini multiplies unisons every other second into small duets and trios always enveloped in the ensemble work. The dancers’ immediate dance space changes constantly, leaving a sense of velocity through movement.
FLAT is a phenomenal choreographic endeavor, a visceral movement journey of outstanding intelligent ensemble work.
SIDES 2016 continues with Innocent until proven guilty (2) by Lee Mun Wai.
Contrasting in its form and aesthetics to the opening dance work.
Live music brings the dancers to reveal themselves as people more then dance bodies, the silence breaks during this work allows time for the audience to reflect on the humoristic style of the piece. Not a confessional one – the work revolves around one song ‘Do you hear the people sing?’
As the music travels on stage via different mediums the dancers reveal their frustrations as well as passions. The costume design as well as set really bring the choreographic ideas to life – this dance work doesn’t rely on dance only to convey one’s idea, instead it brings together different elements to explore sensibilities without diminishing the dance itself.
The structure of the work is expanded to very wide latitudes allowing Mun Wai to bring into the stage an array of elements; it is the type of work that invites you to think and to reflect as you witness the dances. Cleverly structured it expands its humor, movement and irritations throughout the performance in all aspects of theatre and not only movement.
Closing the night on SIDES 2016
We have Mångata, choreographed by Sita Ostheimer, importing a large piece of recent contemporary dance history into the stage.
In my opinion, the choreography resembles too many works from Mr. Shechter, having danced in two works from Hofesh myself I couldn’t see past the choreographic devices used by the latter. Running around in a circle alternating lunges with wide steps in unison, breaking out into a large march-like unison and dancing towards a corner on a diagonal, juxtaposed with a solo facing the back highlighting wrist impulses- culminating in a walk downstage to a line. It reminds me of the earlier works from Hofesh, the movement style, the costumes and even the soundscape – I couldn’t get past this historical dance information to actually see the idea from the choreographer. The dancers however were brilliant, cleaver and resourceful in their outstanding performances.
Sides 2016 is an extraordinary evening of contemporary dance – bringing together geniality from the dancers Wayne Ong and Joy Wang; distinguished performances from Hwa Wei-An, Aymeric Bichon Adele Goh and Adrian Skjoldborg under the oversight of Christina Chan a rising star of Singapore contemporary dance.
SIDES 2016 is on until the 14th of May at SOTA (School of the Arts).