Tanztriennale: Fábio (Krayze) Januário’s Musseque
Musseque highlights the joy and strength found in moving together. It’s a celebration of people, of home, of Angola. It’s a work of belonging. Plus a look back at Tanztriennale generally.
Musseque highlights the joy and strength found in moving together. It’s a celebration of people, of home, of Angola. It’s a work of belonging. Plus a look back at Tanztriennale generally.
She pauses. Looks. Smiles. There’s a laugh. She moves herself between the legs of one lady watching. Warm smiles are exchanged
As Reiko Ohta and Jospeh Simon play with the attitudes and aesthetics of the two dance forms, Routines doesn’t just bring them together, it blends and fuses them.
I loved it, I hated it. I was amused. I was mesmerised, I was bored. It was profound, it was pretentious. It was loud, you could hear a pin drop.
Act One is based on Carroll’s Alice in Wonderland, Act Two on Alice Through the Looking Glass. In a ballet of around two hours dancing, it’s a lot to pack in.
Closing the evening, Balanchine’s uplifting Theme and Variations looked in fine shape… a celebration of Russian classicism
An evening of thirteen short works and excerpts, moving between heritage repertoire, 20th-century classics, contemporary choreography and creations
Esther Merino… an unwaveringly strong tone and a command of the stage whilst always co-operating with her accompanists.
A cohesive, well-designed evening that married solid, largely traditional, flamenco with slick presentation.
An evening filled with heart, of classical excerpts and The Green Table. Carlos Acosta spoke warmly of Sir Peter, a man who did not just make ballets, but built worlds.
Across the evening, the dancers show strength, secure partnering and a physical language rich with possibility. Their bodies twist and fold through unusual shapes