The seventh edition of Café Reason’s regular “Diamond Nights” was an intimate evening of poetic experiments in theatricality.  Introduced by Ana Barbour and lit by Pete Green, the performance began with Ayala Kingsley’s Trunk.  In near darkness assistants drew aside a black velvet curtain to reveal a trunk which began to creak and twitch, its lid tentatively ajar to reveal slivers of torchlight; then streams of bubbles, followed by two grey clad hands as exploring creatures.  Gradually the trunk opened to reveal Ayala as an enigmatic siren bathing and ultimately paddling off on a sea of fabric with her bath-brush… a succession of winning images worth developing.

Flavia Coube’s solo Child juxtaposed her insightful portrayal of childishness with a haunting song by Joanna Nielson which gave an edge of darkness.   In a baggy dress with oversized checks, and hair held by an unruly pink bow Flavia’s comical persona was communicated through wide eyes and ungainly limbs.  Admirable articulation in the fluid and expressive detail of every part of body and face gave this solo clarity and touching authenticity.

A powerful opening to Ségolène Tarte’s Splice as her shadowy figure found its agitated way to a central hanging rope and pool of light.  This work in progress has expanded since previous performances, building its emotional resonance as Ségolène has developed a vulnerable and shifting relationship with the rope, almost lending it life and a character of its own.  She is finding a personal dance language which integrates her balletic grace and vocabulary with strongly defined expressive movement.

Cellist Bruno Guastalla and Macarena Ortuzar continued their fruitful collaboration with Slate.  Sophisticated software allowed the live and recorded cello to be fragmented and randomly fed back and layered, creating an atmospheric sound world into which Macarena crept down the stairs.  Bent back with a layer of skirt over her head, she felt her way into the space with tremulous fingers.  At times she seemed headless, I lost the sense of which was her body’s back and front.  Once fully revealed the image conveyed by her demure cream frock was subverted with movement of delicacy and anguished grotesquerie, suggesting deep and painful stories.

Dariusz Dziala’s video short Cabbage was a lighthearted and surreal collage of images set to a Polish folk song, dazzling in its witty unpredictable invention and inclusion of dance footage both historic and of Café Reason dancers.  Here was editor as choreographer, making surprising combinations of literal and abstracted images dance.

Finally A Walk, a structured group improvisation by Jeannie Donald McKim, Fabrizia Verrechia, Flavia, Ségolène and Ayala with Bruno on cello and singer Janna Ferrett, triggered by Ivor Cutler’s Life in a Scotch Sitting Room, with playful interaction and exchange of a variety of hats.  Hats off to the Café Reason team this evening for conjuring up such arresting dream worlds…

The evening was structured to show 2 performances followed by audience feedback to the choreographer/performers.  Claire Thompson, of Arts Officer of Oxford City Council and chair of Oxford Dance Forum took the role of introducing the pairs of acts and leading/facilitating the feedback sessions.   Each choreographer had been able to put forward specific questions about their work so the feedback could be tailored to suit each of their  needs rather than providing general, random opinions or unhelpful advice.  This structure worked well and enabled both performers and audience to focus.

I was performing in Paulette Mae’s choreography with Anja Meinhardt and Paulette in an excerpt from ‘A Suitcase for all Seasons’.  Paulette’s work explores attachment and is an interesting fusion of dance vocabularies.  We were 2^nd on and this meant I was not able to catch the first act –Nomi McLeod who was spectacularly treating the audience to aerial work on a rope up close.

The next pair were Leslie Tomkins performing an individual and moving solo and Amarita performing flamenco to a projected still backdrop and a practise recording of her flamenco teacher in Spain.  ‘This is very unusual and in a theatre performance I would use live musicians.  In flamenco the musician follows the dancer’s tempo so it is strange to follow a fixed pre-recorded track’.  Leslie talking about his piece said he quite likes to ‘alienate the audience’ while audience members commented that his absorption drew them in towards him.  The two contrasted well with Leslie’s inward looking and relaxed style and Amarita’s strong outward presence and precision.

Segolene Tarte in ‘Splice’ presented a very different use of the rope –as a prop and dance partner.  (how amazing to have 2 rope pieces in one evening!).  She brought a light, playful touch which was also at times mysterious and full of emotional resonance.  Making good use of space and clear form she also took on a variety of body qualities which showed an ability to extend well beyond ballet technique.

Emma Webb stood in her apron and wellies amongst domestic debris and talked and made me laugh.  Making poignant the reality of home and ‘waiting’.  ‘I wait’ she says and there is news of a body on the beach which may or may not be her husband.  She leaves her wellies and her apron and reveals her beautiful dress and her dance.  We do not know if it was her long awaited husband or someone else.  This was a strong piece with plenty of potential.  The use of text and humour with the dance worked well.

The last pair of the evening were Jo Lott’s ‘Tender’ danced by Helen Wadge and David Hudson and ‘Water’ by Helen Tennison and Lucy May Constantini.  ‘Tender’ was an athletic display of contemporary dance which only began to express its softness towards the end.  Jo explained the piece is normally a trio rather than a duet and will have a filmed projection in the finished work.  The audience enjoyed the energy of the dancers and the choreography.

The very last piece was my absolute favourite.  Very refreshing and inspiring.  Starting from the apparently simple idea of ‘water’ it opened up an amazing world of possibilities and ideas extending from that one source.  While one performer sat quietly and spoke to us about the properties of water – scientific terminology, densities, uses, function within the body, the process of drowning, the other dancer moved across the stage behind her in an embodiment of ice.  Then the roles began to change and speaker became dancer and dancer speaker.  More and more facts about the world and water and a story and a desperate chalking out on the floor of shrinking ice caps.   Yet, as someone said so poetic.  What a treat!  I felt really excited to have seen this work and look forward to seeing how and where they extend it.

As a Scratch Night, a space for showing work in progress, we are going to be able to see many of these pieces in their more developed forms during the dance festival:

Flamenco Intimo  3^rd March at The Pegasus: Amarita and guests

Moving with The Times , 9/10 March at Pegasus: Nomi McLeod,  Emma Webb and Jo Lott’s dancers

A Suitcase for All Seasons, 17^th March at The Old Firestation ; Paulette Mae and dancers.

The Scratch Night had a very good turn out, a warm and sympathetic audience and a nice feeling of shared experience backstage.  Euton managed all the tech slots throughout the day and operated lights and sound on the night.  I also saw him stacking up all the chairs after the show.  We are very lucky to have him and Pegasus on the side of dance in Oxford!

Ana Barbour

Bodley’s Librarian invites you to join Harriet Heyman, author, and Acey Harper, photographer, in a conversation about “dancing on the thin edge of possibility”

Convocation House and Divinity School, Bodleian Library

23rd January 2012, 5.30pm (display viewable from 5.00pm)

Heyman and Harper will screen videos on the making of the book Private Acts, an extraordinary photographic record of acrobats in unexpected, open spaces. Refreshments will follow the presentations and there will be an opportunity to purchase signed copies of Private Acts.  Selected materials from the Bodleian illustrating acrobatics over the centuries will be on display.

The event is open to all but please register in advance:

Wilma Minty, Bodleian Libraries, Clarendon Building, Oxford OX1 3BG

wilma.minty@bodleian.ox.ac.uk

Tel: 01865 277084

“The dancing was sharp, precise and light of foot throughout…”  Oxford Times January 2010

Monday 16^th, Tuesday 17^th January 7.30pm:  Giselle

The most poignant of all classical ballets combines powerful emotions and visual splendour in a chilling and heart-rending tale of love, treachery and forgiveness from beyond the grave.  The story of Giselle and her aristocratic but duplicitous lover Albrecht is set to a glorious score and brought to life by the magnificent costumes and virtuoso performances of the Russian State Ballet of Siberia.

Wednesday 18^th January 2.30pm and 7.30pm: The Sleeping Beauty

Every child’s favourite fairy tale, Sleeping Beauty is the classic story of love and magic set to Tchaikovsky’s sublime score featuring stunning choreography, sumptuous costumes and wonderful sets.

http://www.atgtickets.com/venue/New-Theatre-Oxford/245/

First Stage in the Pegasus Studio is where you the public can see new performances being made. This Dancin’ Oxford 2012 preview (it starts next month), is an opportunity to be the first to see new dance work in progress for the festival. Your post show feedback will help shape the artists’ final productions.
Suitable for ages 14+

Booking online www.pegasustheatre.org.uk or call 01865 812150

This is a Pegasus 50th birthday event

Check out Diarmaid O’Meara’s thoughtful appraisal of Darcey Bussell Dances Hollywood on his blog Dance Dialogue…

Sleeping Beauty, broadcast live from the Royal Opera House to the Oxford Phoenix, 15 December 2011

Sleeping Beauty is my favourite Petipa/Tchaikovsky ballet both for the music and the classical choreography, and because it has a happy ending (there’s no suggestion in this version of the story that Aurora has acquired as mother-in-law who will try to eat her!).
Lauren Cuthbertson was a charming and very English Aurora inhabiting the role with a lovely clean and uncluttered style.  There were some wobbles in the Rose Adagio (did she not like her third prince very much?), but her acting carried the audience, and she became increasingly secure, always showing a subtle feeling for mood and contrast.  Her prince, Sergei Polunin, was elegant and noble, landing softly from his jumps, and performing with apparent ease throughout.  Together, they made a happy partnership in the third act.  Claire Calvert gave us a smiley and cheery Lilac Fairy, who was not afraid to take risks with the choreography, confidently shooting into her arabesques penchées.
I’d have liked to have seen more of the excepts from rehearsals that were shown in the first interval, and there is indeed more on the ROH website http://www.roh.org.uk/discover/ballet/sleepingbeauty.aspx , where Monica Mason rehearses Carabosse.

Subtitled “Opinion, Debate, Review”, the blog has already hosted a stream of short thoughtful pieces from a dancer’s perspective on current issues in ballet – worth a read and response!

With ever decreasing space and opportunities for in-depth discussion of dance in print media, blogging and online magazines seem to offer a way forward for developing critical debate about dance.  Despite concerns about lack of traditional editorial control, and the possible disappearance of the informed dedicated critic with years of viewing experience, blogs can provide a space not only for aficionados but for artists such as Diarmaid to develop a voice and articulate a view.  What may be the effects for dance of losing the professional critic and gaining the blogger?  Check Dance Dialogue out – and please share other dance blogs you have found to be of interest…

COHESION FESTIVAL 2011

http://cohesion2011.wordpress.com
     Artistic Direction: Pat Thomas
                                                                                        
On Friday, 2 December and Saturday, 3 December Oxford Improvisers present two further concerts as part of COHESION 2011. The first is an inventive and edgy community piece called Boundaries.  The second piece called New moves; new sounds is a collaboration across the arts, featuring exceptional musicians, dancers and graphic artists from Oxford’s creative arts communities. Both of these concerts involve workshops to which local music communities from around Oxford are warmly invited to participate.


Friday 2 December   4.45 pm and 9.15 pm
Jacqueline du Pré Music Building, St Hilda’s College, Cowley Place Oxford OX4 1DY Entry: £5.00

Boundaries  a multi-layered work combining live contributions from Oxford’s vibrant musical communities, vocal and instrumental, with soundscapes from the edge of town.
Workshops and rehearsals are held throughout the month of November,
contact cohesionfestival@gmail.com or 01865 721564 if you wish to take part.
——————

Saturday 3 December afternoon and evening
Pegasus Theatre Magdalen Road Oxford OX4 1RE

New moves; new sounds

1.30-3.30 pm  Taster workshop on improvisation techniques. Cost: £3
4.00-6.00 pm   Open session. An open rehearsal and discussion prior to the evening performance. Cost: Free (booking required).

8.00 pm  Concert: £7, £5 concessions, £4 U18

An exciting live collaboration across the Oxford arts communities featuring three exceptional guest musicians:

Tunde Jegede http://www.tundejegede.com/ (kora, cello),

Hafeez Al-Karrar (percussion),

Ahmed Abdul Rahman http://www.youtube.com/watch?v=af6Bopr5S90 (erhu)

Four remarkable Oxfordshire based dancers:

Susie Crow (Ballet in Small Spaces http://www.balletinsmallspaces.co.uk/ )
Ana Barbour (Anadance http://www.anadance.co.uk/ )
Aya Kobayashi (Anjali Dance Company http://www.anjali.co.uk/ )
Jason Manito (Anjali Dance Company http://www.anjali.co.uk/ )

Three well known Oxford visual artists from the DEC Drawing Dance Project:

Clare Bassett, Kassandra Isaacson and Susan Moxley

Four established members of Oxford Improvisers: 

Pete McPhail (flute/sax), Jill Elliott (viola), Sarah Verney Caird (voice) and Pat Thomas (electronics)

Information and tickets:

http://cohesion2011.wordpress.com <http://cohesion2011.wordpress.com/>

www.wegottickets.com <http://www.wegottickets.com/>

www.pegasustheatre.org.uk <http://www.pegasustheatre.com/> .

www.oxfordimprovisers.com  <http://www.oxfordimprovisers.com/>

Direct contact:  Email: cohesionfestival@gmail.com or tel: 01865 721564.