THE SCENE IS set for something utterly extraordinary. Quietude pervades. There’s a tight row of wooden crosses, standing plunged into the ground. And the riffs of sound filter through the space, subtly at first and then with richer resonance. You’re on high alert. You don’t know what might happen. And then the corner of your eye is snagged on something that you can’t believe you’re looking at. It dances. It twirls. It looks like a giant in a Victorian frock. A faceless one. The percussion runs in tandem with its movements. And as you look, there’s another. And another. And they’re coming towards you, in their own ponderous, gestural way. Thus begins Trophée, a detailed and moving experience about loss of life, the values of trophy hunting and what war means in our world.
If you think of the opening scenes of Günter Grass’s Tin Drum – or even the 1979 film version directed by Volker Schöndorff – where a young woman dressed in several large skirts sits on the stubby field of a farm, and eats potatoes that she has just roasted over a fire, something of that earnest madness is conveyed in Trophée. Perhaps it has to do with the sweeping and searing soundscape created by Béatrice Graf, perhaps it has to do with the land so deeply invested in meaning, populated by these three dancers in their big dresses. Either way, there is an ethos of the imminence of war. The land seems thick with expectation, and suppurating with deep-seated blood. And it’s a strange thing: here you’re sitting on the roughly mown soccer field of the National School of the Arts in Braamfontein. There isn’t a war going on. This land isn’t so invested in meaning. But the site specificity of this haunting and beautifully designed work takes your head and heart and simply shifts its values completely. And this land becomes any land. A place of battlefields and the spilling of blood.
As the piece unfolds, which sees some unbelievably beautiful drumming that will set you afire, conjoined with the displacement of grave markers that evokes some of the powerful scenes of poppies and grave markers in Richard Attenborough’s Oh! What a Lovely War, there’s an interleaving of heraldic symbolism and metaphors of acquisition. The dancers’ gender doesn’t matter; they represent women: The widows and mourners in the face of war. There’s an elephant evoked and World War helmets covered in thick white lace that offer a sinister and persona-less reflection. The figures wear glittery paisley over their big skirts, vessels for so much by way of gesture and movement.
Several years ago, Dance Umbrella offered platform to an extraordinary French work involving an industrial trench digger ‘dancing’ to the sound of Maria Callas singing. For many seasoned Dance Umbrella audience members, this was a pinnacle in the festival’s history thus far. It was something that became a touchstone to what Dance Umbrella could be about. The wisdom and subtlety, drama and quietude of Trophée stands alongside that trenchdigger in a gesture that touches on so many soft spots in our understanding of ourselves and this world in which we exist, and in doing so, doesn’t attempt to offer silly platitudes or crass observations. It just is. And that is what matters.
Can the Dance Umbrella possibly maintain this level of fine sophistication and engaging beauty throughout this, its 29th annual festival? So far, so good.
- Trophée is choreographed by Rudi van der Merwe in collaboration with Susana Panadés, featuring design by Kata Tóth (costumes), music (Béatrice Graf) and Victor Roy (scenography). It was performed by Claire-Marie Ricarte, József Trefeli and Rudi van der Merwe in the National School of the Arts Soccer Field, on February 25 and 26 as part of Dance Umbrella 2017. Visit www.danceforumsouthafrica.co.za or call 011 492 0709