I was always told that using upper case characters was the equivalent of shouting, well, Emergence Dance Company are quite partial to capital letters but it doesn’t matter, because they have something to shout about. Having said that, they are dancers so don’t speak at all.
The group is a postgraduate dance company of Joss Arnott Dance and University of Salford and this is their chance to show off what they have learned. It is also great way to experience the vagaries of touring and dancing in front of a variety of audiences. The programme comprises three pieces; CHIMERA, 153 8s and EUPHORIA – see what I mean about capitals.
CHIMERA – Choreography by Sofia Nappi in collaboration with the dancers.
This work draws inspiration from Greek mythology as the Chimera, an impossible fusion of lion, goat and serpent, becomes a metaphor for the dancers themselves. As you will probably have gathered, I nicked that bit from the programme.
The first thing to hit me was that the music was very accessible and varied. Combined with the movement of the participants it was a perfect fusion. It began with two dancers interpreting Spanish Serenade by Barry O’Sullivan, followed by The Gastruck from Diego Fernandez during which the initial duo was joined by seven or eight others and then the whole troupe of twenty. At least, I think they were all there but they wouldn’t keep still long enough for me to take a census. However many, the interpretations of the various characteristics of the animal components of the beast were brought to the fore, with the dancers performing as both individuals as well as being linked in some way to the others. The music was also augmented by a thunder and rain effect.
The music changed to something more clubby with Alessandro Corsini – Scappa, Acid Arab – Ejma allowing for more flamboyant moves, before we returned to the Spanish theme of Barry O’Sullivan’s familiar Romanza, slowing things down with the lighting being lowered even more to finish in darkness. Actually, all three of the dances were executed in fairly dim light.
153 8s – Choreography by SAY (Sarah Golding and Yukiko Masui) in collaboration with the dancers.
After a short pause allowing for a change of costume from the leisure wear inspired first part, to a combination of garments whose theme was tartan, we were treated to another wonderfully executed piece.
Once again I need to quote from the programme here as, even after I read, it I am not totally sure of the significance of the title. ‘153 8s is a double-casted dance piece built around four original tracks created by musicians SAY regularly collaborate with. It is all about the magic that happens when dance and music are in sync. ……At the heart of the choreography is counting-specifically learning fast, intricate phrases built around groups of “153 8s”. Is all about (sic) connecting to the rhythm and letting the music guide the movement.’ I think I get it now I have written it down, but it doesn’t really matter, as I thoroughly enjoyed the piece on the totally superficial level a novice like me is forced to rely.
As you would expect from bespoke music, the emphasis was on modern electro beats, however, these were punctuated by sudden silences. As mentioned, there were four compositions; Mikey J – DRIVE, Baba Sy & B4mba – Jambaar, Jag U R – Let The Rain Pour, and Bobbie Johnson – Gwop.
During one of the musical silences, I am sure you can guess which, there was a solo dance to the accompaniment of rainfall. The elements combined to make a soundtrack which could easily have been enjoyed on its own, but took on an energetic life when the dancers demonstrated their amazing physical prowess.
After these two sections, which lasted for about 15 minutes each, and an interval, we came to the climax. A piece of 38 minutes but which was so engrossing that it didn’t seem to be that much longer than the first two.
EUPHORIA – Choreography by Joss Arnott and Lisa Marie Robinson in collaboration with the dancers.
Sadly there are no production images for this piece, but see below for links to the trailers.
This really was a perfect climax to the evening, with the whole troupe involved, and executed to an original score by James Keane, but with an extra twist at the end.
I won’t rely on the programme here because I actually think I got it on my own. The idea was to let each dancer express themself in solos and also with partners and the full corps. The piece moved on seamlessly from one segment to another, by the dancers entering the stage, and performing short ensemble sections, then exiting to leave the soloists to add their own interpretations to the score. Although by a single composer, the music comprised primitive beats, classical and romantic with even a heartbeat and a whistler added to the mix. What a brilliant way to give them all a moment, or several, in the spotlight.
The aforementioned twist at the end was a male dancer dressed in semi shabby clothes, executing a moving piece, beginning in a melancholy manner but becoming more light-hearted, even amusing, by the end. It was danced to Smile, the closing theme from the film Modern Times, written by Charlie Chaplin and here played by Phillipe Quint with Joshua Bell. It was truly an uplifting way to end the show. Should you not be familiar with the piece, please go to https://www.youtube.com/watch?v=XjwqDFeCMnM to see what I mean. The dance was not a copy of the film, but a very impressive interpretation.
There we have it, another milestone in my journey through modern dance, and one which I will remember for some time.
The Artistic Director was Joss Arnott, Programme Leader, Debbie Milner and Producer, Phil Hargreaves.
Here’s another twist, and good one. As you will see, I attended the performance at Harrogate because, when I got my invitation to review it, it was for The Riley Theatre at the Northern School of Contemporary Dance in Leeds on 7th June, so I asked to go to this one instead in order that I could review it and recommend it, or otherwise, before its arrival in the best city in the world. As you will gather, I urge you get a ticket and see this group of talented performers for yourself; you can thank me later. Should you not be fortunate enough to live in the Leeds area, there are dates in Sale, Wolverhampton, Wakefield, a sold out one in London, and Salford, where it will be streamed. For full details and to get tickets please click on https://jossarnottdance.com/emergence/emergence-tour-dates-2025/ where you will also find more details of Joss Arnott Dance and EMERGENCE 25 along with trailers and an introduction to the dancers.
For information about shows coming to Harrogate Theatres please see https://www.harrogatetheatre.co.uk/whats-on/
First two photographs and feature image by James Donaldson, second two by Josh Hawkins
Tyke It To The Limit 