By: Sam Tucker, TRP Reviewer
São Paulo Dance Company, presented by Dance Consortium, bring their passionate triple-bill to TRP on their long-awaited debut UK and Ireland tour. Delayed by the pandemic, this is a masterclass of classical and contemporary dance entwined around the unmistakable core of Latin American and Spanish dance culture. Full of energy, skill and verve this dynamic performance is not to be missed.
The company, founded by Brazil’s state government in 2008, under the leadership of artistic director, Inês Bogéa, seems to defy time and gravity throughout these three distinct works. They dash across the stage like an athlete ready to soar, they glide like synchronised swimmers floating in water and I particularly enjoyed their impressive backwards routines. With often minimal music and costume the dance completely shines and the audience are totally captivated. Stunning soundscapes and stylish costumes enhance the themes of the works and the lighting of all three pieces adds another wonderful atmospheric layer.
Inês Bogéa describes the three works as talking about rituals in different ways. “Anthem looks at how we are connected through common purpose that leads us to recognise ourselves as the same group. Gnawa talks about the rituals of people who live in the North of Africa and their connections with the natural world. And in Agora we are talking about time, memories and the reverberation of Brazilian dance.”
As the curtain rises for the Anthem, fourteen dancers are poised, huddled together, and they move so fluidly, like a wave. Owen Belton provides the soundscore which opens with breathing and presents a human voice throughout. This captures the attention of the audience instantly and they remain in silent awe until the rapturous applause twenty minutes later. The dance, created by Goyo Montero (resident choreographer with Carlos Acosta’s company Acosta Danza), marvellously explores the idea of connection and collective identities. Costumes help to blur dancers into one mass group, representing community, and dramatic lighting casts huge shadows across the auditorium, heightening the intensity. As individual lights descend to meet the dancers, the piece takes on an eerie tone. Ever-changing groupings, sometimes in conflict and at other times supportive, drive the narrative of this piece, with the group morphing at one point into a crowd of flag-waving citizens.
Gnawa, by Spanish choreographer Nacho Duato, gives us a flavour of Valencia. Powered by hypnotic music of North Africa, created by seven composers, this ritualistic music sets the scene. This work, inspired by nature and the elements, continues to showcase the superb flow and skill that is indicative of this exquisite company. Costumes are beautifully simple yet elegant and the use of candles carried by the cast add further atmosphere to the Mediterranean warmth of the piece. It is during this performance that the audience gasp as a dancer sprints across the stage and soars, feet-first, into the arms of her partner. This signature move is repeated and each time is a gravity-defying display of trust and skill.
The exciting finale Agora, by Brazilian choreographer Cassi Abranches, opens with mesmerising metronomic movement and sound which snap the audience to attention after the brief pause in the programme. Warm lighting tones and costumes present the most colourful of the three works and the score by Sebastian Piracés mixes Afro-Brazillian percussion with beautiful vocals, oscillating between frantic rhythms and soothing music. I have never seen dancers move backwards so confidently and gracefully before, playing so cleverly with the idea of time as if they were on rewind and fast forward.
As with all Dance Consortium tours, there are engagement opportunities and many audience members remained to take part in the post show Q&A. Artistic Director Inês Bogéa spoke passionately about the importance of connection, both within the company and to their dances and audiences. She spoke about the literal meaning of ‘company’ meaning that the company travel, train and perform together and keep each other company.
Two of the dancers spoke of their 44 hours rehearsal per week and the numerous different classes they take to prepare themselves for the different dances in the powerful programme – ballet, yoga, pilates, fencing. “My body is my tool for work, so I need to care for it, it’s my responsibility.”
They also spoke of their pleasure in performing, but also the responsibility they proudly feel as they “bring the power of Brazil to you.” It was fascinating to hear their passion and you can also read in depth about the works and the company here – Learn & Participate – Dance Consortium
Connection and company are more than just words to the virtuosos of São Paulo Dance Company and their dynamic ethos certainly translates. Their fluidity of movement and ability to move as one was a standout feature for me. Pulsating rhythms of the minimal soundtrack echoed perfectly with the smallest hand movement or the grandest leap of faith.
I can’t wait to see what treats Dance Consortium bring to TRP next and I especially look forward to seeing more brilliance from São Paulo Dance Company.