Wayfinder | DanceNorth
My collective senses were wired.
My love for dance, visual art and music was being combined in one dynamic production by Dancenorth Australia. This highly anticipated contemporary dance work was touted as being a collaboration with Hiatus Kaiyote and Hiromi Tango, both of whom I am a fan of.
Opening night had finally arrived and Mother Nature decided to drench Brisbane just as I was due to leave on my mobility device. Well I certainly was not going to miss my very first opportunity to watch Dancenorth in action, foul weather notwithstanding!
Once settled, I observed that nearly every seat in the auditorium at the Powerhouse was filled. A smattering of school aged children did not go unnoticed. (Inculcating a love for the arts at a young age is a preference of mine). As I focussed my attention on the semi-lit stage, I noticed that props consisted of just a raised platform on which a lone performer was seated. The only light came from an orb that seemed to be brightly lit from within and which was cradled precariously between a set of palms. The stillness and trance-like state the performer exuded was palpable and even managed to block out the usual noise coming from the audience as they chattered and made their way to their seats.
I was already impressed and the show had not even started!
I was so focussed on the lone performer that I nearly missed similar orbs that were being cradled and held aloft by some of the audience members. Judging from the gasps of wonder, the audience was just as impressed by this novelty as moi. All praise to Niklas Pajanti for his innovative lighting design.
The ritual with these fascinating orbs also heralded the beginning of the performance for, just as my attention was being diverted, the dancers burst onto the stage.
Using contemporary dance as the vernacular to convey the choreography, the dancers drew me into their story. I interpreted their movements as imparting the need for connection, for belonging, for trust, for healing and which inadvertently evoked visceral emotions from this dance/art/music lover. Unlike the structured nature of ballet this contemporary dance work also used gravity with the help of an inflated mattress to further defy any restrictions of movement.
Facial expressions added a strong element to telling the story as did the flexibility and dexterity of the dancers. For the most part, mostly neutral facial expressions devoid of emotion were employed and sometimes eyes latched onto unseen objects. Perhaps indicating the disconnect we experience from our surroundings, from ourselves?
The ongoing struggle with mental health and its emotional toll sprang to mind strongly as I was drawn further into the unfolding story. As the performance reached a crescendo, the dancers donned costumes overflowing with kaleidoscopic designs infused with colourful rainbows. Their movements became more joyful, signifying the exuberance of being alive.
The compositions of the acclaimed jazz/funk/neo-soul, three-time Grammy nominated band Hiatus Kaiyote combined with the terrific sound design by Byron J Scullin underpinned the unfolding and telling of the story.
Visual artist Hiromi Tango’s explosion of brightly-coloured salvaged wool underscored the universal connection we crave but is so sorely lacking, missing in society while her costume designs reflected her creative flair for bold colour. Hirotomi’s separate installation piece was magnificent. At times it seemed to signify the umbilical cord, that precious connection and bond between a mother and her unborn child. Once it was hoisted up above the stage, it seemed to be transformed into an altar ‘worshipped’ by the dancers as expressed through their ritual movements.
Metaphors and symbolism were rife throughout the unfolding of this spellbinding performance.
Under the choreographic guidance of Amber Haines and Kyle Page, the versatility and improvisation of the dancers never failed to impress. Moreover the captivating solo performance by Marlo Benjamin had me mesmerised with her non-stop energetic movements that were infused with complicated floor and foot work.
Three curtain calls.
A standing ovation.
Thunderous applause.
The success of Wayfinder was undoubtedly sealed and my collective senses were appeased.
