One hour performance at the Bergman week 2017.
A piece was about identity and what happens in the meeting between us humans.
An ensemble of principal dancers from the Royal Swedish Ballet, local dancers from Gotland Fårö and refugees living now in Gotland.
Name: It is in the meeting that it happens
Choreography: Joakim Stephenson
Music and dj: Hugo Therkelsson
Costume: Marie Bergman
Author: Florence Montmare, Marie Bergman, Joakim Stephenson and Sara Sjöö
Ensemble: A multi-national ensemble with newly arrived dancers and dancers from the Royal Opera.
Location: Bergman Week at Fårö, Gotland (26 / 6-2 / 7) 2017
Review:
Inspired by Ingmar Bergman’s films and the sagely magic nature of Fårö with their shots, the choreographer Joakim Stephenson has created a choreography for dancers with different backgrounds in a mix of dancers from Gotland and premiere dancers from the Royal Ballet in Stockholm, which forms a multifaceted tight dance group .
Behind the scene, far from the crowd, is a giant wire rope with red thread, on its own elevated scene, to remind you that there is a red thread throughout the performance, a magnificent and playful scenography.
The twelve dancers, all in black coats with hoods, move around in different constellations, in constantly new patterns of movement, marching, jumping, pointing, a lot of focus on the movements of the hand and strong mimics, sit in a group, dance in duet, get married couples Everyone’s eyes leave each other quickly. Then they go on hand with their hands on the eyes of the person before, so everyone goes blindly – until the male dances start dancing back to the back without seeing each other, there are several aspects of being unable to or unwilling to see.
A vulnerable constantly changing group dynamics is formed in It is in the meeting where the dance creates new zones for meetings and confrontation as well as attempts to explore identity and homeland rights.
After everyone has taken off their coats and put in a pile they go forward, one by one to a microphone at the audience and communicate in different ways.
You are silent or say ”Hello!” (male dancer), ”Who you are in the eyes of others” (female dancer) ”Say why I’m here?” (male dancer)
”Who are you?” Asks a female dancer a man. He refuses to answer and asks her ”Who are you?” She can not answer, the words flow into the sand.
Then, the low-intensity intensifies while the group sits down on the scoreboard, burdened by its own burden, to the sound of phrases like ”You Do not See Me Do not Listen, Do not Listen”, In parallel to the opposite ”I do not see me, hear me not, do not listen ”
At the end of the hour-long performance, all dancers change into white stage costumes, circling in soft movements, where everyone moves forward as if they came elsewhere, where there is room for hope.
It is in the meeting that it happens to be a multifaceted journey through our own time.
Ingela Brovik for Danstidningen 10 of july 2017
http://www.danstidningen.se/2017/07/10/det-fruktansvarda-motet/
