Contemporary dance Reviews. Choose from the titles below in this column to display the corresponding review in the right column.

Berichte über zeitgenössischen Tanz. Wählen Sie aus den Titeln unten in dieser Spalte, um den Bericht in der rechten Spalte darzustellen.

Piotr Tomczyk & Shaked Dagan: R.S.V.P.

ZKM Young Choreographers Session Jan 2014

Aslizadyan/Oliveira: Two 4 One

Montpellier Dance Festival 2007

Christian Spuck: The Children

vera | sander | art | connect TRESPASSING

Laureates: Africa/Indian Ocean

Eun Me Ahn: Please Hold My Hands

Lara Martelli: Solo mit Sahne

Akram Khan: Kaash

Junge Choreographen Folkwangschule 2003

Theater der Klänge: Modul|a|t|o|r|

Wim Vandekeybus: Blush



Junge Choreographen

Folkwang Hochschule, Essen-Werden/Germany, 8 March 2003

Author: Jochen Krölls

This year’s world dance event, as I call it, has fascinated me so much that I regard the expression more than justified. Folkwang students have presented a broad spectrum of creativity.

Freiflug (limitless flight) has presented impressive synchronicity of spoken word and dance. On stage: two dancers (Laura Quarg, Lisa Quarg) with two actors (Kinga Prytula, Fabian Sattler), all four dancing and reciting from Conrad Ferdinand Meyer’s Mövenflug (Flight of the Seagull). Language patterns and dance patterns were uniquely correlated. Almost unnecessary to mention that the dance movements raised associations of flight…

ER TRAGE, is it a misprint of the performance booklet or a deliberate game-of-words? There is a space between ER and TRAGE – read as one word, the meaning is to bear, to endure, to suffer; as two terms it could mean may he support. In the end, one can be an expression of the other. Leyla Postalcioglu strikingly demonstrates agony and hopelessness and makes me feel a burden that she is carrying both physically and in a figurative sense. Like on her way of the Cross, on a path of light, quivering, moving convulsively, diagonally across the stage. Leyla mirrors J. S. Bach’s musical repetetiveness (BWV 106) when she starts her diagonal staccato path all over again.

In GANZ KLEIN, Wilfredo Cohen has demonstrated a fundamentally autonomous dance language. Plain and strong, non-ornamental and still full of emotion. Wonderfully brought to life by Andrea Méndez, to Arvo Pärt’s music. To me, a highlight of the evening. Wilfredo seems to have the makings of a distinctive choreographer of a new generation – pretentious but gifted to move audiences.

CAFÉ: Hiccups of laughter, Zucker Kaba Limonade Tee Rum Bumm. Lenka Bartunková’s recipe for a killing Rum cocktail? Bizarre and unique dance language around the cup. Wonderful.

ABSEITS, Andrea Catania’s playful piece, full of complex and bizarre motion, autonomous in style. Pilots me along the border between eruptive laughter and reflection.

CUANDO VINISTE, CUANDO TE VAS with a background video of a blurred (rain?) forest, the focus moving towards rain drops on a glass plate in front of the camera lens. Eileen Bohórquez sits on a chair. Pure and modest. Her hands and fingers draw invisible patterns on her nude chest. When the video refocuses to the forest and rotates, so does the dance motion. Another synchronicity that touches me very much as it reminds me of the synchronicity of humanity and the earth, who are inseparable.

In DISTANCE Fa-Hsuan Chen reveals to me the polarity of human relationships. Distance and intimacy, support and the cycle of life. Andrea Méndez and Carlos María rotate, shift, and tilt a long bench. Although the physical distance is kept there is great intimacy because any motion of the bench occurs in a co-ordinated way and seems to serve a common benefit. Again, synchronicity of motion and sound - rotating movements to the sound of a musical clock.

DE-DOS, Valentina Marenco’s choreography, performed together with Jorge Leandro, prove to me that very little movement can be enough to express hot-blooded south-American rhythm and eroticism. Suspended motion increases the sparkling tension of the slow latin rhythms. Blood-boiling.

OCULUS is part one of a project to be complemented during the winter term 2003/2004. In his œuvre for nine dancers Kuo-Chu Wu combines vibration, heart-breaking (e)motion, a unique and complex structure of combined and separated individual movements. The dancers seem to impersonate questions of Jaacov Shapiro’s (yiddish?) song. At the beginning, OCULUS reminds me of Henrietta Horn’s Veitstanz but then moves beyond that and further develops an uncompromising dance language. Another highlight. I am eager to see part two next year.

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