Joss Arnott's dance company, Emergence, is five years' old, and I have been following them from the beginning. It has been an exciting journey. This current tour started in March, and for their final two performances, they returned to where it all started, Salford University. Arnott is a graduate of this university and his first company was formed from graduates from here too. The New Adelphi Theatre in the Peel Park campus was his final destination, for a tour that was, quite literally, titled, Finale.
Before the show, two small foyer dances were presented by visiting companies / artistes. The first was a solo contemporary piece by a young man from Manchester College, whilst the second piece was a dance that I had already seen once at The Lowry Theatre as part of this year's U.Dance event. A group of 14 year old students from Lancaster with their funky contemporary choreography celebrating togetherness, joy, and personal wellbeing. This was We Rave.
And so to the actual show. There were two pieces before the interval, and one longer and more complex piece afterwards. The first piece was titled 'Fortune Favours'. Contemporary ballet is a most interesting creature since although it is always clear that the dancers themselves have an internal narrative drive and they absolutely know what they are, who they are, where they fit in, and what story they are telling; usually the audience members are free to interpret these movements in their own way as their experience of the dance differs greatly; meaning that every dance, despite it having only one beginning, can have many hundreds of different stories and directions stemming from it, depending on who watches it, and their frame of mind at the time. In this dance, the programme tells us that the aim of the choreography here is to "showcase the power of these artistes, and to empower and inspire audiences to feel strength within their own lives." From my perspective I did not 'get' this, but it was a powerful and most interesting piece. I absolutely loved the use of Laban's "efforts" in here. The slow/fast and the light/heavy dimensions were excellent. A simple but effective start, utilising a solo dancer, and the use of ensemble and group work was impressive.
Before the show, two small foyer dances were presented by visiting companies / artistes. The first was a solo contemporary piece by a young man from Manchester College, whilst the second piece was a dance that I had already seen once at The Lowry Theatre as part of this year's U.Dance event. A group of 14 year old students from Lancaster with their funky contemporary choreography celebrating togetherness, joy, and personal wellbeing. This was We Rave.
And so to the actual show. There were two pieces before the interval, and one longer and more complex piece afterwards. The first piece was titled 'Fortune Favours'. Contemporary ballet is a most interesting creature since although it is always clear that the dancers themselves have an internal narrative drive and they absolutely know what they are, who they are, where they fit in, and what story they are telling; usually the audience members are free to interpret these movements in their own way as their experience of the dance differs greatly; meaning that every dance, despite it having only one beginning, can have many hundreds of different stories and directions stemming from it, depending on who watches it, and their frame of mind at the time. In this dance, the programme tells us that the aim of the choreography here is to "showcase the power of these artistes, and to empower and inspire audiences to feel strength within their own lives." From my perspective I did not 'get' this, but it was a powerful and most interesting piece. I absolutely loved the use of Laban's "efforts" in here. The slow/fast and the light/heavy dimensions were excellent. A simple but effective start, utilising a solo dancer, and the use of ensemble and group work was impressive.
In the second dance, "Announcing..." , we saw menace, conflict, provocation, and perhaps even a final redemption. The choreography here was, for this reviewer at least, more exciting, and some parts reminded me of Hofesh Schechter's work. This was thrilling and visually stunning choreography. As with all of Arnott's work, there is a strong bond between dancer, lighting, sound, music, etc.. and here was no different. The lighting designs were excellent, and the musical rhythms entered and exited the bodies with great skill.
For the final piece of the evening, we came back after the interval to find a stage had been erected at the rear of the existing stage, upon which was a five-piece live band. Two electric guitars, two full drum kits, and a further extra percussionist playing a large bass drum and several cymbals. I have to be honest at this juncture, but after five minutes of this aural onslaught, I simply had to leave. The noise levels were simply far too high, and were piercing my eardrums. I had come to watch a dance not to be present at a trash metal concert. We are in a theatre not at a pop music arena. Sadly I am unable to say anything of the final piece. I understand that during the tour, this music had been played pre-recorded, it was only for the final two concerts here in Salford that they music was live. That was a shame.
Reviewer - Matthew Dougall
on - 23.6.23
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