Spectrum Centre, Inverness, 25 May 2007

Mapdance.

THE UNIVERSITY of Chichester’s MA student performance company provides a unique opportunity for postgraduate dance students to bring their work to a wider audience on tour.

Founded in September 2006, the company exists alongside new technology research at Chichester University. However, there was little new frontier spirit in the language of the four new commissioned works by British choreographers in the show, which did not maintain momentum and interest throughout the performance, despite being interesting conceptually.

They were for the most part safe territory, and lacked the kind of dynamism that holds and challenges an audience throughout.

“Four” by Franziska Eckers and “Brittle Fiction” by Kerry Nicols were the most successful and tightly choreographed of the four, and displayed some fine ensemble work. “Nice” by Bettina Strickler was ill conceived, and “Mass” by Erica Stanton inconsistent.

Beginning with a red light and drum beat “Four” combined strings, synthesiser and sound effects like a sonar echo in a way that was in itself compelling. This emotive quality of sound seemed to drive the work. Inspired by the four physical actions of the human heart – “contraction, ejection, relaxation and filling” – four dancers raised expectation about what was to follow with this initial piece.

The second work, “Nice”, though an interesting starting point for creative exploration, gave weight to the argument that dancers shouldn’t act. The choreographed/spoken piece examined first impressions, preconceptions and the quirky personalities of member’s of the company, set to a mish mash soundtrack of 70’s disco, Raidiohead and Cole Porter.

Perhaps this was an attempt to break down the barrier between audience and artist. It certainly shattered the illusion of performance through movement – and not in a good way. Although it had its humorous moments the overall effect was amateurish, more at home in a high school hall than at post graduate level.

If this pitch was intentional, i.e. making dance and dancers accessible, then I would argue that dumbing down isn’t the way to engage an audience. The whole idea of access should always be access to excellence in conception, production and performance.

As the lights went up for interval I felt that it was going to take a massive injection of energy to build up momentum in the second half lost in “Nice” at the conclusion of the first, and “Mass”, with organ music by JS Bach, was not the work to achieve this.

Erica Stanton’s piece examined “notions of kinship and community”. Costumed in earthy tones and dance styles from previous ages, the choreography wove a series of movements and relationships in counterpoint to Bach’s organ music. It combined moments of engagement with dullness and although interesting conceptually did not hold my attention for the duration.

The final work, “Brittle Fiction”, choreographed to a soundscape of high frequency sound, sampled conversation, music, industrial noise and the echoes that suggest depth of space, was more inventive in conception and execution.

Clothed entirely in white, the dancer’s movements took on an ethereal quality and represented more of an exploration of the language of movement that I would expect from a company at this level. The production values in terms of lighting design also seemed higher in relation to other works sharing the programme.

Taking risks and pushing the boundaries of your craft should be expected of all artists, and represents the striving of a balance between ideas and technique.

Mapdance is a significant company, strategic in terms of its reach to audiences through performance and workshops and providing valuable experience through artistic production and performance. The development of creative ideas through such a company is an exciting prospect as the organisation continues to evolve and is more than the sum of a first touring show.

© Georgina Coburn, 2007

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