Beautiful theme in times of drought: water. In the new program aqua of Introdans, Sidi Larbi Cherkaoui, Jorge Perez (from whom Azul is reprised), Manuel Vignoulle and Lucinda Childs let the movement flow, ripple and waves. While in three of them this mainly leads to smooth dynamics, the water of the ocean at Childs mainly inspires lightness and calm contemplation.
Earth is paradoxically the title of the 2018 trio of Frenchman Vignoulle, a newcomer to Introdans. The movements of the three dancers in bodystockings with tribal print are also predominantly earthy, grounded and striking, sometimes with an almost graphic quality – a vague association with Jiři Kylián’s wildly popular, very earthly, Stamping Ground insists (also with The Lion King Moreover). The ‘watery’ aspect is mainly in the reverberating waves of the vocals (Deuter’s bombastic Coucher de Lune) and the skillfully and fluidly linked chain of props, lifting, leaning and climbing over each other. Whether they move close to the floor, standing or on a partner’s shoulders, the dancers remain almost continuously connected in a continuous flow of energy.
Eye-catching physiques
Slightly less slick, but essentially just as decorative harbor me (2015) by Cherkaoui: also a trio, also set to somewhat kitschy music (Park Woojae), also a wildly smooth play of action and reaction with Giuseppe Calabrese, Vincenzo Turiano and Federico Toselli bending, arranging and propping each other up in eye-popping physiques, only to break out now and then for exuberant jumps. Of course, Cherkaoui’s trademark, extremely nimble shoulder stands and rolls are not missing, as is (unfortunately) the mime thing where the three manipulate a man and an invisible box.
Although nicely made, looks Harbor Mess somewhat like a repetition exercise, an impression that Cherkaoui’s work unfortunately often gives in recent years.
Lucinda Childs made Oceana in 2011 for the Ballet de Nice Méditerrannee. Apart from Osvaldo Golijov’s choral compositions, the queen of minimal dance brings no surprises either. Her style is and remains cool, restrained, light and, of course, repetitive, although her movement language has become more and more classic and polished over the years.
Strong point of Oceana is the effect of the calm repetition of simple, classical combinations of steps, each time with a minute change or change of direction, with the movement of the rows of dancers evoking an image of the small waves rolling over the beach. This work does not have the hypnotic power of yesteryear, but it is pleasant.