More than 150 artists came together for a dance showcase attended by hundreds of promoters and programmers. Christine Madden reports.
Huddled in the corner of the hall, someone from Montreal speaks rapid French into her mobile. At a nearby stand two people peruse company information; a third watches a video. People cruising up and down between the tightly packed stands greet old friends, stop to consider displays or cross-check mutual availability in diaries and PalmPilots.
Another trade fair, yet this one isn't selling cars, computers or holidays. The goods on offer belong onstage, and the exhibitors are dance companies. Held primarily for company promoters and venue programmers, British Dance Edition presents its wares to the public in a festival-like atmosphere. Think of what goes on at events such as the Sundance Film Festival or Cannes and you'll get the idea. International dance movers and shakers meet at such gatherings; the presence of an eager audience confirms the appeal of the acts ordered and contracted.
Organised by the Association of National Dance Agencies, the umbrella organisation for the UK's nine regional dance agencies, the event takes place every two years, hosted by one of the regional agencies. This year DanceEast, under the directorship of Assis Carreiro, steeled itself for the massive planning and organisational feat of pulling together stage presentations by more than 30 companies over three days, including the trade fair, receptions and other professional get-togethers. The late Gothic architecture of Cambridge provided an incongruously venerable backdrop to some edgy, sexy dance gigs for more than 450 promoters, delegates, festival organisers and venue programmers by more than 150 dance artists.
"It started off 12 years ago as the Spring Collection in London and became incorporated as part of the ANDA programme," says Carreiro. "We put our bid in and were successful for 2004, so we had to raise all the money and assemble the programme." Each agency submits a list of 10 companies it would like to see in the event, "and almost everyone got what they wanted". As well as presenting established favourites, such as Richard Alston, Random Dance and the Rambert Dance Company, Carreiro aimed to "showcase new people" to the hordes of British and international programmers looking for exceptional acts.
And there many to choose from. With an excellent training structure in place, British dancers are able to reach enviable heights of skill and ability; choreographers were clearly pleased to have so many top-notch performers to hand. Within the broad mainstream of British dance on display, a few choreographers provided truly memorable performances. The UK's multiculturalism means that, beyond contemporary dance and ballet, the British scene also embraces jazz, African, street, Far Eastern and experimental dance, and enthusiastic audiences clearly exist to support them all.
One of the most daring acts challenged accepted notions of dance altogether. The company CandoCo, which has toured Ireland in the past, mixes "disabled and non-disabled" dancers to prove that anyone can overcome great physical hindrance to develop and display skill, grace and dexterity. Those who can't imagine anyone "dancing" from a wheelchair should watch dancers balance and spin on their wheels and use the upper parts of the body for effect.
The bill that began with CandoCo also offered two other gems: Maresa von Stockert and Tilted Co, and Scottish Dance Theatre. Von Stockert's production, Nightmares In Black And Green, easily became one of the highlights of the three-day showcase. The work examined a flawed and failing relationship with quirky, irresistible black humour, telling a story in which apples were pared and spat their juice across the stage; one dancer bitterly and disdainfully plucked roses from between the toes of the other, who, in a later segment, performed an affecting yet ridiculous pas de deux with a life-size inflatable doll. The piece didn't rest on its props and humour, however; the dancing and choreography were sharp, unexpected and riveting.
Scottish Dance, in My House Is Melting, demonstrated a youthful vibe as its six dancers pushed at and played with physical and imagined boundaries, represented by a heavy table, complete with door, positioned variously horizontally and vertically at different points across the stage. Continuing urban hip appeal, a programme of street dance, featuring Jean Abreu, Robert Hylton Urban Classicism and Irven Lewis, also drew large crowds despite its late showing. Hylton also turned up in a video at a trade-fair stand for Capture 2, a tantalising project that combines dance, film, video, music and computer technology in a collection of screen shorts available for international touring.
Another young act, George Piper Dances, emerged as highly entertaining on both on a pop and an artsy level. Known also as the Ballet Boyz from Channel 4, directors Michael Nunn and William Trevitt engaged the cream of the choreographic crop - Akram Khan, Michael Clark, Russell Maliphant, Matthew Bourne and Christopher Wheeldon - for Critics' Choice *****. Interspersed with amusing film clips like an TV insider show, the inspiration, dancing and choreography of the five pieces were astonishing.
Some Far-East-inspired programmes added flavour to the mix: Sonia Sabri, a kathak-inspired dancer, Lea Dance, a solo act by a promising young choreographer and soloist, and Mavin Khoo, whose piece Images in Varnam placed both its male and female dancers in almost identical lily-like costumes for an excruciatingly erotic performance.
Against these, programmed during the day, came the big names in the evenings: Alston, Maliphant, Arc Dance, Random Dance, Charles Linehan, Henri Oguike, Rambert and more. These established companies, some of world renown, displayed their technical superiority, not always taking chances but still presenting exquisite dance to an enthusiastic public.
Between performances, dance professionals met in cafes and hotel lounges, trading secrets and making contacts, wheeling, dealing and sharing notes. The bustling, heady atmosphere dispersed only reluctantly at the end of the three days. Never mind. They'll all see each other again at the next trade event, in Düsseldorf in a few weeks.
