Performed at the Dublin Dance House on 28 May 2011.

After being enthralled by the performances presented in Mixed Bills I for Re-Presenting Ireland, I also watched the contributions for Mixed Bills II. Overall, I was newly inspired as regards my own dance practise. Also, after seeing the works presented for Mixed Bills II I am now eagerly conducting more research into modern contemporary dance in Ireland. The Chrysalis Dance Company opened Mixed Bill II by presenting ‘Connect For’, a very intense work (to say the least) pushing the formerly clear boundaries of classical ballet and depicting a thrilling modern interpretation thereof. Bridget Madden then staged her ‘An Rinceóir/ The Dancer’, a work exploring the connective points between Irish and modern dance. The event was then concluded by ‘Ten: white/grey studies in movement’ which was presented by Liv O’Donoghue in collaboration with Maria Nilsson Waller.

Connect For

Performed by The Chrysalis Dance Compay. Choreography: Judith Sibley. Music: Jesse Ronneau.

Connect For left me breathless throughout. With music by Jesse Ronneau, whose work is known for the experimental manipulation of instruments, the work is highly dramatic, intense, intimidating, if not shocking at times. At the same time, it is utterly pleasurable all along. As a contemporary ballet, the five performers (two male, and three female dancers) who presented this piece demonstrated very advanced technique. Their intense facial expressions and imposing stage presence will accompany me for a while, as a source of inspiration and respect. Their silvery-bluish costumes mixed with black hair dresses and generous make up, reiterated the slightly menacing, eerie tunes of Ronneau. Most importantly, this work created by Judith Sibley, the director of the Galway based Chrysalis Dance Company, clearly pushes the boundaries of classical ballet. The company has stated as its primary mission to revolutionize the traditional movement vocabulary of the classical ballet dancer by introducing some off-balance coordination work, perhaps more typical to contemporary modern dance.

Photo by Stephen Macken

Connect For thus demonstrates to the audience the strength and beauty of contemporary ballet whilst exploring the complex layers of human interactions. The complexity of human relations is illustrated by the constant interchange between solos, duets, and group numbers. Partnering sequences with beautiful lifts are followed by exquisite solos on point shoes. I particularly enjoyed the male solos, as both were really strong, expressive dancers boasting great technique. One specific section left a real imprint in my mind. A loud (musical) bang interrupts the first male solo, and the three (contemporary) ballerinas join the male dancer on stage. Contortions on the floor follow as the music becomes more menacing. My heart actually started beating faster during the sequence.

Generally, the entire piece is characterized by the continuous comings and goings of dancers and it is only at the end that they all join the stage in union to perform the finale. What I particularly loved about this piece was the constant interruptions (surprises), and the changes of protagonists, who, much like in real life, were struggling to be the centre of attention. The means of entry were particularly impressive. For instance, one of the male solos was initiated by the male dancer interrupting a female duet by staggering onto the stage as if balancing on a thin line, playing with balance and suspense.

Last but not least, the ever so intricate details of this performance are worthy of mention. For example, towards the end, the three female dancers crouch on the floor, one arm supporting the bent leg under the knee, the fingers of the other delicately wandering across the floor. Those details provide a sheer viewing pleasure to the audience and suggest the intelligent and innovative work the Chrysalis Dance Company is capable of producing. Based on this performance, and others which are available online, I would recommend their work anytime as an intrinsic manifesto for the richness of contemporary modern dance in the Republic.

Check out the company’s work in more depth

An Rinceóir/ The Dancer

Choreography: Bridget Madden

The second contribution to Mixed Bills II came from Bridget Madden. Entitled An Rinceóir/ the Dancer the gist is in the title. In her solo piece, Bridget aptly explores the relationship between Irish and contemporary dance and the fusion between the two. The piece starts out with the dancer lying on the floor, arms tied at the back. Her breath is audible, as she rolls around the floor to find the right positioning in order to rehearse Irish dance steps whilst on the ground. In this noteworthy introduction, Bridget evidently dissects the rhythmic patterns and complex footwork of Irish dance. Eventually, she manages to liberate herself from the straps, now sitting on the floor, counting and executing Irish dance steps with her hands, her fingers nimbly hopping across the floor, simulating an Irish dancer’s feet. At this instance, the audience observes the intricate process of learning Irish dance steps which gets more frenetic, and desperate, as the dancer intermittently loses the pattern and then resumes it.

The first part of the solo distinctly explores the characteristic elements of Irish dance, as well as lower body strength (when Bridget finally gets up to execute technically supreme Irish dance jumps), use of floor space and high-energy rhythmic patterns. This is juxtaposed in the second part by an investigation of the movement repertoire and stylistic characteristics of contemporary dance. When Bridget finally explores modern contemporary moves her face becomes more liberated. Contrary to the Irish dance section of her piece, her face looks less tortured now and the liberating capacity of contemporary dance obviously impacts on her in a positive way. Altogether, this is an entirely wholesome work of dance, which is very well thought through and meticulously structured. It is almost comparable to an (artsy) first class honours thesis, which aptly opposes two very different case studies, and eventually identifies the connectors between the two.

In brief, An Rinceóir/ the Dancer is intellectually and artistically easily accessible, even to the lay man. Bridget Madden’s work is therefore exemplary for the objectives of DDF, illustrating the vitality of dance in Ireland and the marriage between tradition and innovation.

Bridget Madden is an ensemble member of the Echo Echo Dance Company in Derry.

TEN: white/grey studies in movement (working title)

Choreography: Liv O’Donoghue. Sound: Tom Lane.

Photo by Luca Trufferelli

The final contribution to Mixed Bills II- Re-presenting Ireland came from Liv O’Donoghue. Her ‘TEN: white/grey studies in movement (working title)’ ensued from a year of personal movement research facilitated by an Irish Arts Council bursary. Presented as a duet by Liv O’Donoghue and Maria Nilssen Waller, the piece is pure and simply stunning. The soundscape accompanying the piece was provided by Tom Lane, and evokes sounds of nature, bird song, touch and conversation. The two dancers enter the stage together although Liv breaks away almost immediately to deliver a superbly executed solo. Her movement is delicate, and her steps ever so light, yet quietly confident.

Personally, I felt like watching a fairy play on a bed of sun flowers. While the (solo) introduction speaks for itself and unfolds without musical accompaniment at all, Liv’s movement occasionally produces a slight shower of white sand (fairy dust in my mind). Seemingly tortured, in search of the unspecified, she paces across the stage with light jumps, exhibiting fluid arms and tantalising movement sequences. Suddenly the faint whispering of Tom Lane’s soundscape joins her dance. Like voices in my ears it reminds me of nostalgic, distant memories of the past. Now the second dancer, Maria, an exquisitely light footed dancer who performed her solo in Mixed Bill I joins Liv on stage. The two dancers share an intensely, purposeful facial expression all throughout, an expression which (personally) inspires a sensation of longing contemplation and internal reflection. The two protagonists both wear skin toned costumes (Liv wears a figure hugging dress while Maria opted for pants and a top), adding to the illusion of purity and fragility.

The constant motion of brushing specks of (exist dust as well the audible slapping of body parts and the occasional pushing against the ground as if to examine its sturdiness are recurrent visuals. One section which I particularly adored was a duet (floor) sequence which summoned emotions of vulnerability and the need for protection and comfort. The two dancers conclude the choreography on the floor with circular motions of the hands, inspiring an exquisite meditative atmosphere. All in all, this work boasts sophisticated technique and intricate dance vocabulary where the connection between the two dancers is sometimes lost, but then found again.

The landscape of fairy-inspired sounds of nature and bird song really help to enhance the feelings of purity and underline the beauty of simplicity (nature) with the audience. I would recommend this piece anytime, as exemplary for the richness of Ireland’s contemporary modern dance talent.

For more information on Liv O’Donoghue’s work please visit her website

The 2011 Dublin Dance Festival ran until the 28th of May. If you did not get to go, do check out their website.

Read Jasbelly’s introductory window onto the Dublin Dance Festival

Messages From The Big Rock Candy Mountain would like to thank the 2011 Dublin Dance Festival and Stephanie of Kate Bowe PR for everything