Halka, performed by Groupe Acrobatique de Tanger is a compilation of Arabian culture demonstrated through music and movement. The cast consisted of 12 acrobats, 10 males and 2 females, and 2 musicians. The piece was 60 minutes long with no interval, creating a condensed explosion of visual theatre questioning and extending the boundaries of gender, culture and class. Their combined energy on stage was euphoric and almost infectious. And, the supersonic nature of the bodies and the connection with each other was totally encapsulating and slightly surreal.
The piece started with clear boundaries between two classes of men. Half of the men were in suits whilst the other half in native Arabian dress including coloured scarfs tied around their waists. The suited men used the scarfs to control the men, holding them as the other man flipped and summersaulted. During the piece, the men lost their scarfs and their jackets allowing them to level with each other. they also lost their shoes, which for me really stripped back the socially enforced constraints of class and status allowing each man to walk the same floor, literally and metaphorically. The movement of the acrobats was utterly sensational. Their jumps were fluid and smooth and all of their limbs seemed to float like ribbon. Their flexibility allowed the curves of their legs to flip back to create a fish like motion through the air. Each movement seemed an extension from the last and there was no end or beginning.
The introduction of the two women later in the piece was empowering and brought a contemporary outlook to the piece. The women created an entirely new dynamic of passion and a connection between the two genders but also illustrated the similarities between men and women and their mutual ability to maintain the rapid dynamic of the group. When the women entered the stage a new style of movement was incorporated. By climbing on top of each other they created “human towers”; relying completely on trust and human strength. Although at times this was scary to watch, I was drawn to the action and interesting visual aspects of raising two people so far above a crowd. The introduction of levels created a new dynamic. There was so much beauty in their commitment to their craft and to each other and this in turn meant every lift appeared effortless.
During the piece, the two musicians were downstage singing and playing various instruments including the banjo and a piccolo/recorder. Then, later in performance each performer brought on a circular steel pan and, using their feet, created a beat. This drumming brought every character together in unison and was powerful due to the volume, the unison and the feel of the shaking auditorium! To finish the performance, the cast came together as a chorus singing, in Arabic, a native song or chant. There was so much weight in their togetherness and strength in their numbers. The importance of their performance became so clear, and for me, it was this moment in which I understood the message of the play. Their decision to strip the piece entirely of costume, acrobats, levels and instruments resulted in entire focus on them, standing together on the same stage at the same level, singing in chorus.
This was a performance which attempted to demonstrate the freedom of human nature, through humour, movement and voice. I found it refreshing, contemporary and exciting. Their sheer ability and strength of body is exceptional and the message they hold is portrayed with grace and power. Halka is beautifully empowering and mesmerising.
Reviewer - Grace McNicholas
on - 9/7/19
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