When watching Rosie Kay perform, she has a sense of pride about her. A respect for movement. An appreciation for technique. A loyalty to contemporary dance.
During interviews, Rosie Kay openly speaks about the isolation experienced by dancers and difficulty in making a good living out of dance. She herself has had her ups and downs. She describes choreography as something she has to rather than wants to do. She comments that winning awards is relieving recognition for a huge amount of hard work.
Especially evident in her recent work with Morgan Cloud 'Double Points: K' Rosie Kay delivers everything it says on the packet. She's a solid dancer who ticks all the right boxes.
We didn't find second piece Supernova quite so stimulating. This dance was choreographed by Rosie and performed by 5 female dancers. However, the technical quality of her work and her personal presence on stage does make her appealing to see again. Even more so if she were a little less dignified maybe. And we don't mean in the fabrication of a 'Wild Party'!
Performances by Cloud Gate Dance Theatre of Taiwan are well known for their precision, visual beauty and thought provocation. In Wind Shadow there is absolutely no room for error. The majority of the piece contains slow lucid movements whereby any slight imbalance will put the dancer at risk of ruining the whole effect. Cloud Gate takes no prisoners when it comes to any potential distractions such as the odd stumble or shaky leg.
Choreographer Lin Hwai-Min founded the Department of Dance at Taiwan's National Taipei University of Arts in 1983. Many of his dancers are graduates of the university and National Institute of the Arts in Taiwan. They are all trained in Tai Chi Tao Yin (an ancient form of Chi Kung), Meditation, Martial Arts, Modern Dance, Ballet and Calligraphy. The standard of training in these various forms is reflected in the accuracy and fluidity of their performances.
Wind Shadow is technically brilliant and inspires special moments of contemplation. However at some parts we did find ourselves starting to wonder whether we're there yet. Maybe a reflection of our own lack of self discipline.
Concept and visual director Cai Guo-Qiang quickly throws you back into line closing with extremely loud gunshot sounds and great visual effects.
A particulary good interview with Kwesi Johnson for those interested in contemporary, martial art and hip-hop dance performance in the theatre. Kwesi is a delight to watch and full of insightful information. Here he talks us through meaning through dance and gives his personal take on the various controversies surrounding hip-hop theatre...
In fusing Physical Theatre, Funkstyles, Hip Hop Culture, Contemporary Dance, Urban British Jazz Dance and Capoeira, Kompany Malakhi produces some of the most accessible and integral work currently in the UK. This Bristol based company optimistically embrace these influences making Kompany Malakhi a positive force not to be reckoned with!
The word Malakhi originates from the Hebrew term malakhi meaning "angel" or "messenger". By combining the word 'Griot' an African storyteller who uses various art forms to tell stories, and 'grapher' from choreographer (creator of movement), Kwesi Johnson has come up with the phrase 'Griographer' to best describe what he does. Kwesi extracts elements from dance, martial arts and physical theatre, to form his own unique language of movement. The essence of his work is to communicate meaning and messages and not just to present 'movement for movements' sake' or shape-shifting.
Within Kompany Malakhi, Artistic Director Kwesi Johnson combines this fundamental position with artistic high quality performances, and a down to earth approach to participation work.
After attending his solo performance Single Reflex, DanceGround caught up with Kwesi to find out how he manages to master this combination.
DG: What techniques or processes do you follow to create meaning through dance?
Kwesi:It’s not so easy to explain in a non-practical environment and do you mind if I use the word movement rather than dance, as dance comes with a certain expectation of what it is. Usually I’ll brainstorm write, collect words, sounds, drawings and music, anything I think could have a relationship to what I want to say with a piece. Most of these things usually converge as images. These images are where I take the bulk of the ideas forward. I create those images as starting points for movement, music and anything else that will support the piece/section I am creating. The image is really important, as we remember things as images. Yes we remember styles of movement, maybe amazing flexibility or tricks when watching dancers, however the details are usually pretty wishy washy by the time one reaches the car park of a theatre or bus stop after the show. Images stick and remain for longer. Yes smell, touch etc, trigger memories but the end result is usually an image in ones mind, of a place or a happening, that is connected to an emotion. The movement is then created from the emotion.
Showing the meaning through movement comes via the emotion and how that emotion affects or creates movement. Whatever style or combination of movement styles I am using it has to be affected by the emotion. I don’t just mean doing fast movement because one is panicking, for example. Rather how does the emotion of panic change the movement quality. I encourage dancers, when creating work like this, not to point their foot for example, out of habit and training, but rather because an emotion demands it.
DG: The name Malakhi implies that you aim to deliver messages. Is this your intention and if so how important is it to you that your audience or participants receive the message you had created for them? Kwesi: It is really important for me that the audience receives the message, but also enjoy the work. But I am realistic and accept not everyone will receive exactly the same message. The work operates on varying levels. For audience members who don’t see a lot of movement based work, they can appreciate the work from a purely aesthetic point of view. For the more seasoned audience member, there are more sophisticated layers interwoven with those messages. As an artist I feel that if you have no agenda to make change and to offer a different perspective for people, there is no point in being an artist.
Kwesi's background in dance began in B Boyin and Funkstyles, then Urban British Jazz Dance. He then went on to graduate at the Northern School of Contemporary Dance (NSCD) in 1991. This included training in ballet, contemporary dance and choreography. He also carried out independent training in Capoeira, urban dance forms, African and Caribbean dance.
DG: How much value do you place on your formal training of contemporary dance in comparison to the experience you gained in bboyin and funkstyles?
Kwesi:That’s an important question because the disciplines they both give are on different levels but equally as important. The formal training gave me a particular type of discipline in areas such as body awareness, abstract interpretation of a theme, and understanding music, particularly using counts. With BBoyin and Funkstyles some of the previous disciplines are used, but I would say there is more of a focus on the aesthetic and the ‘moves’ being displayed. Both forms demand you to train your body to do things you never dreamed of, however the mindset for the movement output is different with each form.
Where I am now as a ‘griographer’ is different to where I was, and how I made work say ten years ago. Like any artist I evolve, so the ‘moves’ from bboyin and funkstyles become integrated into the vocabulary I use, which provides an amazing pool of movement and possibilities to draw from.
Bboyin is a competitive dance, so the emphasis is on winning in the circle, and being the best you can be, which demands you have the ‘moves’ and style that will enable you to progress. What stimulates me is the things that happen when you take that amazing movement and perform it with intention. For example a headspin on stage, could suggest a dancer is going insane or their perspective is changing or disorientated, or as a metaphor for their world being upside down in a spin. The use of the lighting, narrative and staging will help, but can you see what I mean?
Kompany Malakhi not only draws on dance/movement styles from funkstyles, jazz and Hip Hop culture but in 2006 launched the UK's first Hip Hop Academy. This was formed as an attempt to reclaim Hip Hop culture as a 'positive and creative source, to bring communities together, to dispel myths and work against the negative stereotypes the media have created'.
DG: Some have suggested that the culture of hip hop is born from non-conformist expression on the streets, so to take it to the theatre and formalise its teachings is to take away its core essence. What would you say to those people?
Kwesi: It’s true, yes that has been suggested, but for quite some years now, the dance forms of Hip Hop culture and funkstyles aren’t really learnt on the streets they are mainly learnt in a studio, nightclub or community centre. As you say some suggest this shouldn’t happen. But the superhuman moves that Bboyin is producing may never have been created if there wasn’t a smooth wooden floor to slide on, or a tumbling mat to try a flip on, but some would argue flips aren’t Bboyin’, they are probably the same people suggesting it shouldn’t be in the theatre . Yes back in the day dancers would use mattresses stacked on top of each other, but if you can afford it, and are in the position to work indoors in a space, why not?
Particularly in the UK, if we only trained in the streets then we would have to find something else to do for ten months of the year, because the weather is so poor. I also think that if something is taught in a building or part of an academy doesn’t formalise it, if the vocabulary is set and one says that only X,Y,Z movements are Bboyin or funkstyles etc. then that is formalising. The fundamentals of those styles are to learn the foundation and from that everything else is an individual interpretation and adaptation. The only thing that I think could benefit from some formalisation is teaching the foundation. I don’t think this will happen, because a lot of the originators don’t agree with what is and isn’t foundation. It’s a shame because most of the guys are still alive, so when they pass on it’s never going to be in the slightest bit accurate. Then the danger is that it will be appropriated by certain organisations and people ,and formalised in an inappropriate manner. Look what happened to Jazz dance and music, they became separated because the improvisational element was taken out of the dance and the movement vocabulary formalised.
I’m digressing, I think presenting in a theatre or teaching in a studio doesn’t stop it being non-conformist, and I think that non conformism exists in more places than the streets now.
We really need as many ambassadors as possible to show Hip Hop culture as a 'positive and creative source, to bring communities together, to dispel myths and work against the negative stereotypes the media have created', because Hip Hop has been misappropriated in order to make money for so long. Especially the musical element of the culture, which is rap with the record labels pushing ‘gangster rap’, which is but a tiny piece, of the tip of the iceberg of rap music, why the labels do this has to be saved for another interview. The full blame shouldn’t fall on gangster rappers, 90% of it should be on the labels and radio stations that play it without the balance of positive and conscious rap. If they don’t push it, it won’t sell. For some ‘gangster rappers’ that life is a reality for some they seem to fake it because they know it sells. It’s a question of balance. A majority of people think gangster rap is Hip Hop culture, but those two things are poles apart in their philosophy.
As far as putting Hip Hop in a theatrical setting, it’s fine that people don’t agree with that, but that shouldn’t stop those that want put Hip Hop in a theatrical context from doing it. To me Hip Hop is theatre.
I can understand to a certain extent where I think that argument comes from particularly with Bboyin. Bboyin as I said before is a competitive dance, traditionally done in a circle. So take these essential elements away, then it’s not Bboyin, rather it’s using a Bboy vocabulary.
When I use Bboyin or funkstyles or any vernacular dance form, on stage in a theatrical performance, the movement has to progress the narrative. I feel that presenting a V formation with everyone doing the same thing at the same time, for me this is class or a routine on stage, it has its place in the bigger picture, but for me it’s not theatre or Hip Hop theatre. If I present in a theatre, then I create a theatrical performance.
Capoeira is an additional art form that has inspired Kwesi.
DG: What interests you about Capoeira and how does this contribute to your work?
It contributes with its incredible flow of energy, the transitions from floor to standing to ariel movements. The tradition, the music and it’s such a beautiful way to move.
Kwesi Johnson has been demonstrating his dedication to learning and educating others for over 15 years. In teaching and working with professionals and people with little or no experience in dance or physical theatre Kompany Malakhi works to provide opportunities to people of all backgrounds.
DG: How do you reach potential partcipants and audiences?
Kwesi:Our participation work takes on a number of forms, from taster workshops to residencies. The work connects with novices as well as people with experience, that goes across the board from workshops to performance.
I think that education establishments, promoters and organisations look for a USP for each company/artist which is what they have to do, however they should also be informed by the company, and because Hip Hop culture is a part of my, and the companies identity but not the sum total, some pin that 'label' on us. I know why they do this, but again that is another interview, I would love to do. I often use the example when Miles Davis produced music that was influenced by Hip Hop, did he become a Hip Hop artist, or when he produced music that was influenced by Flamenco does he become a Flamenco artist.
I've never used the pyrotechnics of Hip Hop and Funkstyle dance forms, for the sake of a whoop and a cheer from the audience and moved on from solely movement based projects. However Physical Theatre is the basis for most of the movement based work. So for us at the moment part of our education work is educating promoters and organisations what we are 'really' about. This doesn't mean we haven't achieved our goal in selling who we are. My influences change as an artist and this has an effect on the work too, by saying I do X and X is all, creates stagnation for me.
We are a multi disciplinary company, our strap line is 'Creating experiences that change perspectives' This is where we are now, which is proving to give a lot of freedom in my thinking for the Artistic Direction for the company.
My focus has always been to empower the participants, to be creative beyond the contact they have with the company. There is a saying. ‘Give a man a fish he’ll eat for a day, teach him how to fish he’ll eat for ever’ This is our philosophy when it comes to participation.
Our current and future focus with our participation/education is more on the creative side of what can be achieved by using a mixture of art forms. We tend not to teach Bboyin, funkstyles or street dance any more, we have moved on to using those forms to create theatrical performance. There are lots of good teachers out there teaching the dance styles. We operate and are more interested in the realm where we facilitate and teach performers who have learnt the moves, but now want to take it to the theatre and out of the circle.
So I think our work does a lot to reach those people,coupled with really excellent teachers that share our philosophy.
Kompany Malakhi Video of their recent performance on tour - Boxin
Visit Kompany Malakhi's website for more info.
If you are a painter, decorator... bboy, dj, beat boxer, used to be or a 'wannabe' - Flhip Flhop is likely to have you genuinely laughing out loud.
Dressed in white overalls and winding up in flip flops, hip-hop artisits Matt Bailey and Joey D put on a highly entertaining show throughout.
Matt and Joey make a great duo whose personalities naturally bounce off each other. Matt Bailey has a background in DJ, dance and performance, and Joey D is a well recognised bboy touring theatres, schools and competitions. With this they've created a professional yet down to earth original hip-hop production that with good gags and great self mockery is extremely funny. Humour suited to the older generations as well as the youth.
What is it about Hofesh Shechter that has fast forwarded him to popularity? Why does Shechter appeal to audiences who wouldn't usually warm to contemporary dance? With a signature dance style that isn't necessarily advanced in terms of conventional contemporary movement, why do those 'in the know' wait in anticipation for his next piece?
Photo by Andrew Lang
Shechter has created a unique style within dance. His technique is repeatedly described as 'masculine'.
The wider audience are more likely able to relate to Shechter's 'every day' body shapes. Slumped shoulders are more familiar than the 'head up, shoulders back' posture in frequent traditional dance performances. His choreography is an accurate visual representation of the human action, thought and emotion we so desperately attempt to put into words.
Photo by Chris Taylor
Shechter composes the majority of the music and knows how to use this to enhance the performance.
By bringing us back to basics lighting designer Lee Curran reminds the audience of the fundamentals of Shechter's atmospheric style.
The numerous flood lights at the start of Uprising create a 'larger than life' feeling as the row of dancers pace to the front of the stage. The flood lights then go out as the dancers remain illuminated. They slowly turn their backs and step out of the light. The mood shifts in preparation for what's to follow.
Hofesh Shechter's recent work 'The Art Of Not Looking Back', especially choreographed for his female dancers is a compelling concept taking into account his reputation for creating a masculine style of dance.
Strikingly talented dancer Junaid Jemal Sendi performed in the UK earlier this year alongside dance partner Addisu Demissie for Dance United's project 'Destino'.
Dance United set up Destino to encourage the use of dance in transforming people's lives. Junaid Jemal Sendi is an inspiration to the dancers involved in his work. He himself was selected by Dance United at 10 years old to participate in a project for street children in Ethiopia. This steered him towards his professional career in contemporary dance and his commitment to benefiting others through dance.
As part of the 2004 Rolex Mentor and Protégé Arts Initiative, as young as aged 22, Junaid was chosen by Japan's leading choreographer Saburo Teshigawara for mentoring not only for his abilities in dance, but his intelligence and "energies for the future".
Junaid has worked with a variety of choreographers internationally and partaken in many dance initiatives. Junaid is a captivating dancer and a treat to have seen him here in the UK.
Along with music producer Michael 'Mikey J' Asante, Kenrick "H20" Sandy formed Boy Blue Entertainment in 2001. Comprising over 100 dancers with sell out shows across the UK, Boy Blue proves to be a popular enterprise.
A hip-hop interpretation of the Pied Piper casting Kenrick as the leading star and his dancers as the misconstrued vermin feels a little predictable. However, the show is well liked with some great sounds, individual dancers and dance routines.
Philip Hulford currently dances for the Hofesh Shechter Company and has been since 2006. Philip's energy on stage and sense of rhythm is nothing short of astounding. When watching a Hofesh group performance, you occasionally have to remind yourself that Philip Hulford isn't the only dancer on stage.
Photo by Andrew Lang
From the age of 4 up until 13 Philip trained and entered competitions in gymnastics at his birthplace in Bolivia. After competing at national level in the UK, he went onto do a BA Degree course at London Contemporary Dance School. Here Philip worked with Hofesh, joined his company tour and now has a full-time career in dance.
More often than not all eyes are on Philip. His prominance as a dancer leads to the curiosity of what he's like as a choreographer. We're looking forward to seeing what he gets up to outside of the company and/or in collaboration with Hofesh Shechter in the coming years.
Currently run by Hakeem Onibudo, Impact Dance began in 1995 and is classified as a Hip-Hop Theatre Company, Street Dance Organisation and Educational Facilitator.
In seeing Hakeem's 3 duets 'Circular Disorientation', 'Do you understand me?' and 'I-You-Me-Myself', it's obvious that he has an immense enthusiasm for raising the profile of hip hop. For this particular performance, Hakeem introduced each duet by trying to educate the audience about the culture of hip hop. We didn't feel this necessary as each duet spoke for itself.
It's Hakeem's intention to produce high quality hip-hop theatre and he seems to be doing just that. Though thoughtful, we'd like to see him tackle stereotypes rather than representing them. Nevertheless, his dancers are of a significantly high standard, and Hakeem puts together a neat production.
Impact Dance recently performed at the Breakin' Convention 2009 with their latest piece Smash, and has recently set up 'Live Vibe' to provide a professional platform for young artists to make their mark. Impact dance also work to make street dance accessible in schools.
