The Bournemouth three year Residency of the Cohan Collective began in 2018 with a two-week Intensive, followed by a Development Week in 2019, and finally a three-week creative period in summer 2020.  In a normal year the final phase would have culminated in a live showing before a selected audience, but this year, because of the pandemic, the artists shared their work in a Zoom meeting.

We saw two works; one created for film and therefore complete, the other for the stage and so by force of circumstance not yet in its final form.  The sharing event was well planned, with opportunities for questions and discussion.  After an introduction by the  event moderator, Yolande Yorke-Edgell, Founder Director of the Cohan Collective alongside Sir Robert Cohan and composer pianist Eleanor Alberga, explained the purpose of the project: to enable artists to become their best creative selves through exploration and collaboration, with the support of mentors, and with the time and space to be both vulnerable and adventurous.  The moderator then posted the link to a film of the first work in the chat, so that we could all watch it simultaneously, before returning to the Zoom call for discussion.

We saw the first work, choreographer Edd Mitton’s The Quickening, without costumes, sets or lighting, filmed at the final point of preparation in the studio, before that vital shift when it should have transferred to the stage.  Three female dancers (Freya Jeffs, Sharia Johnson, and Abigail Attard Montalto), in black practice clothes, their heads initially swathed in white scarves that covered their faces, seemed to swim slowly in the air, drifting in space to Edmund Hunt’s composition for violin, double bass and piano.  The slow floating movements, to music that sounded like breaths of air punctuated by notes from a five-tone scale, evoked an atmosphere of the supernatural.  A man (Jordi Calpe Serrats) sits and seems to sense invisible presences, but not to see them.  He reaches out to hold them as they move around him marking the limits of his space as if they live within the four walls of his room.  He lies down, perhaps sleeping, and they carefully circle him anti-clockwise, extending their hands and hovering over him as if to draw him upwards with invisible threads.  They might be waking him, or they might be stealing his soul; they are like three witches, or spirits, or something that falls between reality and imagination.  They never quite touch him, until one clamps her outspread hand to his chest with the impact of an electric shock, and at last she dances with him.  In the end, they cradle him, and then let him slide to the ground and roll away, before each retreats to her own corner, leaving him downstage right, carefully moving his hand across the surface of the floor as if he can sense traces of ghostly footprints.

The second work, What Remains, by choreographer Dane Hurst and filmmaker Pierre Tappon to music by Ryan Latimer, made use of different locations and special effects, but the focus was nevertheless on the dance itself.  Romany Pajdak, dressed in white and looking utterly defenceless stands in a narrow alley way hemmed in by the high brick walls on either side.  We see clips of her running (towards someone, or away from them?) and Hurst, her partner, fades in and out of the picture as if he is walking in and out of her mind.  They dance a duet that contests the narrow space as if they are trapped in a dysfunctional relationship. Then Hurst dances a solo in the dark, filmed partially from above, before we see Pajdak again, in a derelict attic, where she discovers Hurst lying on the floor.  They circle each other warily, like cats, and when they dance together they are often not face-to-face, but one behind the other.  In the final scene, Pajdak, her back against a wall, tips and swings in two dimensions like a pendulum, until she subsides to the ground.

In the first Question and Answer session someone asked whether The Quickening was about Coronovirus.  Although neither work was specifically about the pandemic, both dances seemed influenced by related themes:  loneliness, isolation, vulnerability, and an ever-present invisible threat.  The absence of physical touch in parts of The Quickening and of eye contact in parts of What Remains echoed the lack of connection that so many people have recently suffered.

In discussion we heard about the ways in which the choreographers, composers, musicians, dancers, and their mentors, often working remotely from one another, had successfully addressed this year’s particular challenges.  Sir Robert Cohan spoke at the end, emphasising the difference between being an artist for oneself (which is easy) and being an artist for your community, creating work and experiences for an audience that they can understand:  the true artist finds new ways to see life and emotion, and our society needs artists, if we are to grow as human beings.  Through this residency, the Cohan Collective, together with partners  Yorke Dance Project, Pavilion Dance South West and Bournemouth Symphony Orchestra and other supporters, has provided the professional guidance that prepares composers, choreographers, musicians, dancers and filmmakers to fulfil this essential role: it is good news that this year’s Birmingham Residency, although, perforce, postponed, is scheduled for 2–14 August 2021.

Maggie Watson

18th October 2020

You can find out more about the Cohan Collective here

Rambert’s adventurous programme shows a commitment to new work and artistic collaboration that gloriously affirms the company’s long heritage and roots in the post-Diaghilev dance diaspora.  The evening opened with Kim Brandstrup’s Transfigured Night, followed by Didy Veldman’s The 3 Dancers, and concluded with a revival of Christopher Bruce’s Ghost Dances. Live musical accompaniment was intrinsic to the immediacy and vigour throughout.

Brandstrup’s study of painful choices as a couple’s relationship teeters on the brink of failure courageously uses the music (Arnold Schoenberg’s Verklärte Nacht) that Antony Tudor chose for his ballet Pillar of Fire, but his conception is original and completely different from Tudor’s. (more…)