© Photos by Bernie Ng, Courtesy of T.H.E Dance Company.
Triple Bill opens M1 Contact Contemporary Dance Festival 2016 with determination and accomplished choreography. Kim Jae Duk, Kuik Swee Boon and Arthur Bernard Bazin bring cutting-edge choreography in a refreshing and delightful evening of contemporary dance.
In ‘Equilibrium’, Kim Jae Duk creates a lunar and singular reality, where dancers consistently defy gravity, shifting between weightless and grounded tight unison- hovering the stage with fast momentum interjecting the latter with the precision of mercenaries crushing skulls at the speed of light.
Jae Duk’s movement signature is polished, lustrous and precise inciting calm and fulfilment across the entire performance. We are guided through gentle breathing sounds from the start into chanting, accelerating the pace as the piece transforms into a conquest for serenity and composure. The cast is agile with catching and dashing arm gestures and incredible dynamism as if one were in the middle of a pest of flies, however, certain of survival like modern Tao warriors.
Kuik Swee Boon masters stillness to remind us all, we are humans and not machines.
Setting one thinking, ‘Pure’ is a clean and charming movement piece about attachment and belonging. Anthea Seah is visceral and transforms into a drop of sweat, running down Wu Mi’s neck in an intricate duet of acute sensibility and tune.
Two dancers become one single shifting cell, lengthening arms and hands spiralling towards one another, leaving the audience mesmerised by the impulse quality nature of Swee Boon.
‘Attachant’, a family portrait complete with one unwelcome guest.
Devised from Contact Improvisation this piece of repertoire sheds new light into the versatile skills from T.H.E Dance Company dancers.
The choreography is overscored with cumbersome rock music, providing a silver lining for comedy in dance. In here, the dancers perpetually fall together on the floor and recover to expel one individual from the group.
In contrasting costumes, Billy Chantasan is ousted from the group into solitude, finding pleasure in pain in the most agonising solo. Like a pride of lions, he is welcome back into the family to challenge gravity.
Climbing one another, we are pleased with these new hypotheses of seeing the human body upside-down, lateral and contorted supporting a family of five literally on his shoulders while walking on stage.
Humour brings a lightness to this otherwise violent piece of dance, playing games of severe pulling and supreme pushing causing laughter on both audience and the cast.