JAPANESE DANCE. llrlFAlRl SHINLA Gateway Theatre, 16-27 Aug, 3pm.
The title translates from the Japanese as ‘the whole creation’. Add the subtitle ‘the wind blowing in the universe,’ a basis for Zen Buddhist belief, and you have the potential for a whole lotta uplift.
That’s the idea behind dancer/choreographer Kaoruco’s hour-long Edinburgh (and European) debut production. Featuring a cast of seven, including her, this is contemporary dance-theatre that sucks the juice from a slew of styles and traditions: martial arts and acrobatics, a human version of Bunraku puppetry and intricate hand gestures derived from Buddhism.
Kaoruco is quick to acknowledge her multiple influences. Choreographically she claims to have tapped into ‘the cosmic root’, but it was the Buddhist mandala that inspired her most: ‘the geometrical signals coming from the very core of the cosmos.’ The performance hangs, rather more concretely, on a narrative about a warrior and his sister in an earlier age of provincial wars. Through their redemptive drama, Kaoruco aims to impart Bushi-do, the art of living as a samurai, and its philosophy of ‘pure and innocent behaviours and spiritual
SITE-SPECIFIC DANCE
.. ,, ,.; .~ map/n ,, A.
Zen and the art of Japanese dance power to pursue the truth. It is the power which makes people develop themselves. This power lies not only in those who believe in Bushi-do, but in everybody.’
Although Kaoruco’s training took her to New York and London, she’s developed a system all her own called ‘telepathic body communication,’ or Telebody. She describes it as a means to express ‘what is impossible to transfer by language. As soon as my energy reaches my partner, I perceive his or her hidden essential power, charm and individuality, and I draw this out.’
A prolific creator of movement for musicals, concerts, films, TV and videos, Kaoruco has also used dance to work closely with disabled children and adults. No wonder she’s been labelled a ‘queen of choreography’ and ‘super choreographer’ by the Japanese press. Yet her beginnings were humble. As a tot she danced to songs on the telly. Formal lessons didn’t commence till she was in her mid-teens. ‘I was born with a problem in my legs,’ she explains. ‘I became stronger, and overcame the genetic predisposition. Now when I dance, I feel as if my cells are reborn. My body disappears, and | become wind. Then breathing helps me find my deeper spirit. So I want to tell the audience that our bodies have infinite possibility.’ (Donald Hutera)
LEAH STEIN: IN SITU Dance Base, 14-19 Aug, 4pm.
Dance Base. Scotland's stunning new National Centre for Dance. hasn't otfiCially opened yet. But that hasn't stopped its four studios from being put to good use throughout the festival. With a range of classes bookable on the day.
On the performance front. the big news is the site-si_)ecific world premiere devised by visiting American dancer choreographer Leah Stein. Together With four dancers and a live perCLiSSionist. Stein Will move round the btiilding. both made and out. allowwig audiences a sneak pl‘GVIGW of what the centre has to offer. 'Dance Base is a wonder.‘ says Stein. ‘It has all the things I look for in a Site: light. spaciOusness. textures Within the space and everywhere this wonderful potential for SOund.'
Based in Philadelphia Since the mid- 808. Stein studied creative movement and ballet as a kid. But it was while majoring in dance and anthropology In college that her ‘whole sense of dance
opened Wildly. I started making dances. and things started to make sense. I had a movement voice inside me tliat l didn't even realise.' Since then she's caned a name for herself as the creator of Li'lftl‘tlti and memorable outdoor perforrnaiices. dravving inspiration from landscapes and architecture. Recent work has veered from a botanical garden. v‘rhelt: she ‘played With the sense of ‘oiinal. Cultivated beauty] and a perfectly unremarkable parking lot and admin rig alleyway ‘hrought into being Ill some way thanks to the presence of “1;” tl'Vl her dancers.
In this kind of performance. Ste n explains. 'a whole different attention starts to awaken for me and the audience. I have a strong appreciatior‘ of form. lnavbe because my parents visual artists. But I'm also an l’lll)l'()‘.”f3€2l at heart who loves the element of Surprise.’ The joyful challenge. she says. is to develop more in integrating those two sides. I like finding wl‘ere the. meet. rub against each other and :le .'.'crk. Don't Play Me, Play Games, a and glide along' cm at 3"”1'000 and our :‘ierceptiOns of
Stein's adventure in Dance Base s ‘_:;":".-.'ii";} .i:..' Donald Hute'ai
Leah Stein falls for the new Dance Base
wart o‘ a l2’flgllélllt‘l‘(: that also includes
maker Rosie Kay. Her third outing on the
Fnrige. st‘e'v be presenting her new
Edinotirg’fli—imr" but Benin-based dance-
I PASTForward Former ballet superstar Mikhail Baryshnikov and his White Oak Project dancers celebrate the ground breaking work of 1960 and 70s post-modern choreographers. See feature. Playhouse, 73— 1 6 Aug, 7.30pm.
I Within Outer Spaces Heads on fire. luminous juggling. surreal amphibian crawling — you've never seen anything like it. Prepare to be amazed. confused and just a little scared. See review on next page. C Venue, until 26 Aug, 8.30pm.
I Shared Space Four hugely talented choreographers do wonders with a tiny space in this showcase of new contemporary work. Randolph Studio @ The French Institute, until 1 7 Aug, 3.30pm.
I Footprints on Water Powerful Indian dance from the supremely talented Aditi Mangaldas. a specialist in the powerful, SOD-year-old Kathak style. See review on next page. George Square Theatre, until 13 Aug, 6.45pm.
I The Pillow Book Japan's feistiest export, Shakti strips down to the bare essentials in this erotic exploration of the body’s pleasures. See review on next page. Garage Chap/teau, until 27 Aug, 9pm.
I The Spice In Salsa Cuban folklorists Cutumba blend dance, music and song as they journey back to the roots of Afro-Cuban dance. See review on next page. Gateway Theatre, until 27 Aug, 9.45pm.
". Aug THE LIST FESTIVAL GUIDE 37