Trinity Laban’s Celebrated Historical Project 2017

Our second year undergraduate students will perform works by choreographers who have made a significant contribution to the development of contemporary dance in the 20th and 21st centuries.

During Historical Project, students are immersed in an intensive period of study. As well as restaging the dance pieces, students learn about the artistic, historical and cultural contexts in which they were originally created and performed. The result is an experience which integrates theory and practice, and which exposes students both physically and intellectually to important dance works of the 20th and 21st centuries.

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Image: Highland Fling, Matthew Bourne, Historical Project 2016

Final year student Orion Hart (pictured above) performed in the restaging of Matthew Bourne’s The Highland Fling in last year’s programme. He commented:

“The Historical Project was one of the highlights from my whole time at Trinity Laban. It challenged me to discover new aspects of myself as a performer, and allowed me to go beyond what I thought I could achieve. If I could go back and do it all again I would!”

This year, students will be staging seminal works by:

Merce Cunningham: MinEvents 9, 10, 11 & 12 arranged and staged by Daniel Squire

Martha Graham: Panorama (1935) restaged and directed by Jacqueline Bulnes

Dore Hoyer: Affectos Humanos (1962) reconstructed and staged by Martin Nachbar

Hofesh Shechter: Sun – An Extract (2013) arranged and staged by Winifred Burnet-Smith, Sam Coren & Phil Hulford

Rudolf Laban: Drumstick re-imagined, staged and arranged by Alison Curtis-Jones

Martin Nachbar commented:

“It is always a joy and challenge to teach students to approach these dances and reconstruct them with the idea of meeting them rather than working on looking exactly like the original.”

Alumna Zoe Bishop performed in an extract of Sasha WaltzContinu titled Women, as part of Historical Project 2014. Zoe said:

“I found the process of learning the repertoire to be most inspiring as company dancer Mata Saka really took us on a creative journey over the 3 weeks. It allowed us to gain rich insight into the feel of the work.

I feel that Historical Project provides the first real opportunity to perform at a professional level within the undergraduate course. This opportunity is invaluable as it exposes the students to different styles of dance within the Contemporary Dance bracket, whilst working with professionals in the industry. It also provides the chance to work and dance with fellow students we may not have previously danced with and ultimately allows the students to perform repertoire of a professional level.”

Check back next week to follow the process of this year’s works.

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Image: Women, Sasha Waltz, Historical Project 2014

For more information and to book tickets visit our Events page.

Alice White

Graduate Intern – Press & PR

 

Christmas and Dance

Nutcracker

English National Ballet’s Nutcracker. Photo by Annabel Moeller via eno.org

We’ve all heard of and most of us have seen the infamous Nutcracker – the festive ballet that follows protagonist Clara’s journey around the world, culminating in her arrival at the Land of Sweets – and for many, this is as far as it goes when it comes to Christmas related dance. But what about contemporary dance? Does modern dance’s stereotypical serious façade exclude it from exploring Christmas as a theme and embracing the most wonderful time of the year?

There is one example that immediately springs to mind when considering Christmas and modern dance, which happens to relate to the old ballet favourite. Matthew Bourne’s Nutcracker! (1992) was created to mark the centenary of the famed ballet, and aims to be a contemporary re-imagining of Tchaikovsky’s ‘glorious’ score – an ambition Bourne definitely fulfils. Whilst elements of the movement language are arguably still relatively classical and stylised, the re-configuration of the traditional storyline creates what the company describes themselves as “a fresh, hip and charmingly irreverent interpretation of the traditional Christmas favourite”. So, how is Christmas presented in this work? Is there still a towering, tinseled, twinkling tree centre stage? Is there an abundance of presents and candles and festive foods? Not one bit. Bourne turns our perception of Christmas entertainment on its head by inviting us to view it from a different perspective, specifically from the perspective of protagonist Clara and her fellow urchins.

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Matthew Bourne's Nutcracker! via Londondance.com

Matthew Bourne’s Nutcracker! Photos by Bill Cooper via londondance.com

Despite offering us a darker, more sinister setting than the upper class family Christmas of the Nutcracker ballet, Bourne’s work is by no means lacking in festive fun and references, with the orphans bouncing across the stage in multicolored paper hats, and an entire scene dedicated to the theme of wintry ice-skating, the dancers clad in white furs and the stage covered in smoke and fake snow. Whilst the rest of the work moves on to focus on Clara’s journey into a fantasy land and the colorful array of characters she meets during her travels, the opening to the piece firmly establishes that Christmas can be a credible subject for high profile contemporary choreographers.
However, is exploration of the yuletide theme restricted to theatrical, humorous choreography such as Bourne’s? Or can it be utilised as a stimulus in more abstract, solemn work? Richard Alston’s A Ceremony of Carols (2012) does exactly this, by setting his trademark Cunningham-inspired style of choreography to Benjamin Britten’s A Ceremony of Carols (1942) score (sung live on stage by the Canterbury Cathedral choir) which expresses images of the Christmas story through the medium of reconfigured medieval English carols.

A Ceremony of Carols by Richard Alston. Photo by Chris Nash

Richard Alston’s A Ceremony of Carols. Photo by Chris Nash via richardalstondance.com

Alston’s choreography reflects the musical accompaniment, not by trying to narrate but rather “to portray the poetic imagery of the mediaeval words” (Alston, 2012) for example, one scene is centred around an image of the Virgin Mary having an insight/premonition into the troubled future that lies in store for her child.
Although there is a very brief history of the association of Christmas and contemporary dance, both Nutcracker! and A Ceremony of Carols are evidence of the success the festive theme can achieve – Nutcracker! is celebrated as one of the most popular dance productions ever presented in the UK; Judith Mackrell heralded the work as having captured “the soaring ecstasies and dark mysteries of Britten’s musical vision”.

Will other modern dance choreographers embrace the December festivities as Bourne and Alston have? The future looks bright, for only this year Arthur Pita brought his The Little Match Girl to Sadler’s Wells, based on the Christmas themed story by Hans Christian Andersen. We can only wait in anticipation to see what future Christmases will bring to the world of dance.

Emily May

BA (Hons) Contemporary Dance student