Guest blog by Katie Lee.
Theatre-loving cyclist with a degree in Drama, Katie has returned to Leeds to work three jobs in order to support her culture habit.
Dep Arts in conjunction with Northern Ballet presented a double bill:
Joss Arnott Dance: Threshold + 24
James Wilson Dance: Cave
It’s easy to get very excited about the recent additions to the dance scene in Leeds, with Northern Ballet’s Stanley and Audrey Burton Theatre leading the way in vibrant, contemporary performances that any local dance fanatic yearns to see. Dep Arts have teamed up with Northern Ballet to produce a pilot Spring Season, bringing critically acclaimed companies up north to show us the current face of dance: a high-octane, innovative fusion of cultures.
The first in a double bill, Joss Arnott Dance gave two performances exploring ‘body fluidity’, ‘rapid robotic aggression’ and ‘a metamorphic aesthetic’. I was instantly mesmerised by the all-female cast in Threshold. Their explosive limbs, strong and elegant, energetically coursed through a series of solos and group sections without respite, stirring in me a wild admiration. I wanted to be these women; they instantly became my role models, whipping their hair, and me, into a frenzy. This may all sound very dramatic and akin to a 13 year old crush, but I could barely take my eyes off the dancers to make any notes about style or music.
Their second dance, 24, is inspired by the Alexander McQueen exhibition ‘Savage Beauty’. A quick costume change into some shiny shorts and black tops points out the obvious lack of flouncy skirts in this show, costumes are practical and androgynous. It doesn’t matter what sex the dancers are, but it feels great that they are all women. The whole evening points towards a true equality emerging from dance, female dancers don’t need men to lift them up and are embracing this new power. Their performances are cathartic, possessed even, but most of all wholeheartedly engrossing.
After the interval, I was geared up for more of the same. However Cave offered something very different, a more considered story-led piece evoking themes of imprisonment and control. I continued to be impressed by the athleticism, dexterity and poise of the dancers, seeing very different influences in choreography. Martial arts and Capoeira styles wove their way into break-dancing; creating stunning, intuitive partner work that was captivating to watch. After being so impressed by the previous all-female cast, feminist readings kept flashing across my brain, but ultimately these four dancers (one female, three male) were on a level playing field by the end of the piece, with the two dominated performers regaining power.
As I enjoyed a post-show beverage with my companion, we gushed like teenagers about how awe-inspiring the evening was. Dance is sometimes pigeon-holed as an activity little girls in tutus enjoy, but these performers shot that stereotype to pieces. I wish I had seen movement like this when I was more youthful, I’d probably be joining them on stage now.