First Look was a chance to see the work in progress on four dances by artists awarded 2023 Moving with the Times commissions. Presented in the welcoming environment of Pegasus, the programme consisted of three solos and a duet. An onstage discussion, curated by Thomas Page, followed each work, enabling the performers to seek responses from the audience.

All four works explored what it is to be an outsider, who does not conform to society’s norms, whether through disability, gender, social class, sexuality, culture or ethnicity. Intriguingly, all the performances used words as well as dance to establish context and convey meaning, through songs, poems or pre-recorded monologues, and by the dancers themselves speaking on stage.

Audience feedback was sometimes practical: for example, discussions about whether Divija Melally’s piece could end with the dancer on or off stage, or the way in which dancer Lucy Clark shared the stage space with musician Philip Kinshuck. The performances also provoked more subjective reactions, including intensely emotional responses to the exploration of transgender experience by dancers Trayvaughn Robin and Tonye Scott-Obene in CTC Dance Company’s work, and a vote by show of hands on whether or not the audience liked or disliked the type of character portrayed by Vita Peach in her comic creation, HUGO.

Viewing the four works at this stage shed light on the artists’ different creative approaches. Vita Peach, directed by Tamsin Heatley, offered a brief but polished and sophisticated excerpt from her solo work, while CTC Dance gave several short developing extracts from what will be a longer narrative dance for two dancers. Lucy Clark and the interdisciplinary ‘fuse collective’ presented a collaboration between dancer, musician and visual artists Daniela Zaharieva and Yi Ting Liong in which sound, lighting and movement seemed to hold equal value. In contrast, Divija Melally’s dance was a solo work, apparently devised and staged entirely by herself, that began to the sound of her own breath, and included a beautiful visual effect (which it would be ‘a spoiler’ to describe here!).

There was wit, humour and grace on show, as well as the rawness of pain as the dancers in their various ways embodied experiences of rejection or exclusion. They all had ample ideas and material to work with; perhaps more than it will be possible to incorporate within the finished works. When Dancin’ Oxford presents the final versions at Pegasus on 3rd and 4th March, it will be almost as interesting to discover what the artists have chosen to omit, as it will be to see what they have refined and developed.

Maggie Watson

21st January 2023