Friday 14th February 2020, The Place, London
Stoke Fukuda In the Middle of Nowhere
JgXgh Marble Incarceration
BDblaq Dance BlaQish
A sparse rounded spotlight dominates centre stage as choreographer and performer Satoko Fukuda rocks back and forth into the darkness, floating in an effervescent limbo to capture the sense of being In the Middle of Nowhere. Gestural articulation of the hands flourishes into off-balance full-bodied falls and turns. Spherical movement, pathways and spotlights reflect the ambiguous feeling of going around in circles, encapsulating the sticky space between yes and no. A hypnotising performance that flowed with clarity and control, despite the reoccurring theme of uncertainty.
This sensation of being stuck intensified as the night unfolded, entrapping us in JgXgh’s Marble Incarceration. The space was dictated by a seemingly inconspicuous mound of clothes which burst to life as a hidden performer emerged from under its bulk. A feeling of despair developed as the dancers violently flung their bodies around the space, hands frenziedly clutching heads. A relentless lethargy built, as like a magnet, the materialistic heap incessantly dragged the performers back, like helpless puppets on strings, representing the dangers of consumption.
We ended the night with a fitting contrast between constraint and freedom, highlighted by opposing flashes of rapid and sustained movement quality, clever lighting choices and complimentary music. Influences of Hip Hop and Tap joined forces to create an intriguing fusion in BDblaq Dance’s BlaQish. Trademark razor-sharp isolations united with witty shuffles created a charming partnership, enhanced by the tight-knit bond of the trio and the sincere theme of brotherhood. Personality driven solos from each of the performers created moments of individuality within the togetherness. Intimate spoken word and quirky movement phrases broke down the conventional performer- audience barrier whilst playing with notions of identity and acceptance. The invisible border was further blurred when the performers departed from the main theatre exit, skilfully making us feel like a unified front, and an integral part of the performance.
Megan Hamer
Originally published as part of Resolution Review 2020 here: https://www.theplace.org.uk/blog/resolution-review-2020/fri-14-feb-satoko-fukuda-jgxgh-bdblaq-dance
DIGESTING DANCE 