Curated by
Liz Lea for Ausdance ACT
Ralph Wilson
Theatre, Gorman Arts Centre12th and 13th April, 2019.
Reviewed by
Bill Stephens
Now in its
fourth year, this program of works in Ausdance ACT’s “Escalate” program, which provides
professional mentorship for young ACT dance makers working towards developing a
professional dance practice, continues to evolve. This year the addition of
film mentorship by the 2018 Artist of the Year, Kim Beamish, has resulted in
its strongest program yet in terms of performance and presentation.
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| "Unity" danced by Canberra College |
S
even works
were presented in a satisfying program which commenced with a performance by 13
dancers from Canberra College of a work entitled “Unity”. Costumed in long flowing beige costumes, the
dancers executed a series of tightly choreographed patterns contrasting flowing
unison movement with graceful individual sequences to Rino’s Prayer by Leftfield, to explore themes of unity, feminine
strength and individuality.
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| Favour Wallace in "Self Love" |
Striking
West African dancer, Favour Wallace, dramatically costumed in a black, under a
fluorescent red veil, brought professional flair to her own choreography interpreting “Self Love”, performed to Latin rhythms, against Kim
Beamish’ striking slow-motion close-ups of her head and shoulders.
Bailey White
drew on various urban styles for his work “Nostalgia” in which he was joined by
Vince Sorilla and Brock Kershaw in a complex work in which Vince Sorilla’s
moves were intriguingly mirrored in Kim Beamish’s film of the three in action.
Natsuko
Yonezawa tackled the problem of social isolation with her work, “The
Hikikomori”. It commenced with her own film intoning sombre statistics on
homelessness around the world, then progressed into short, sharp interludes
depicting isolation, and then to longer solos impressively performed by dancers,
Silas Manapsal and Tahi Kentwell. The result was both thought-provoking and
entertaining.
Nicholas
Jachno chose an original score by Maluil Aleer Deng for his piece, “An
Observant Man”, in which he explored the complexities of the system of nerves
and networks in the brain concerned with instinct and mood. Utilising abstract
film projected on to the three walls surrounding the performance area, Jachno
created an immersive environment in which he drew on his own strong dance
technique to create powerful abstract floor patterns and contortions.
The most
amusing work of the evening was created and delightfully performed by Courtney
Mattick who drew on the soundtrack of Baz Luhmann’s, “Everybody is Free to Wear Sunscreen”
commercial to create a funny work, with a sting in its tail.
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| Alana Stenning in "Great Woman, Wolf Woman, Bone Woman" |
The final
work in the program was also a solo, created and performed by Alana Stenning,
entitled, “Great Woman, Wolf Woman, Bone Woman”. Taking her inspiration from
the story of the Wolf Woman and working to a soundscape created by Kimmo
Vennonen, Stenning took the stage costumed in a bright red suit over a white
shirt. She confidently strode the stage before eventually stripping away the
suit to complete the dance clad only in the shirt, and surrounded by white
sticks and bones.
“Escalate 1V” is notable for the diversity and originality of its topics, for
its imaginative lighting and presentation, for its innovative use of film and
indeed, the overall excellence of the dancers. Special mention is also due to
the work of the mentors and mentees who contributed their expertise towards achieving such a
stimulating outcome.