Luo Lili
and Gao Yanjinzi: mother and daughter, traditional folk dancer and contemporary
dancer, choreographer and performer. There were many dualities and contrasts
in this presentation by the Beijing Modern Dance Company. Unlike the
company's previous performances in Singapore, however, this was
a delicate, intensely emotional work for two (though composer-vocalist
Liu Sola and lighting designer Huang Zhigao should also share equal
credits for this piece).
The performers' off-stage relationship could never be ignored, and
it made this exploration of culture, politics, family ties and the self
compelling - it could not work on other performers. The beginning set
the basis for their journey: in diaphanous pants and a midriff-baring
top, Gao balanced precariously on small islands of rattan, her buttock-length
hair cascading to the floor as she gestured tentatively towards the
seated, solid figure of her mother. Luo, shrouded in a voluminous rich
silk cloak and flowing red garments, represented certainty and tradition.
Luo's tradition-based dancing had small, disciplined gestures of the
hands and face, which contrasted with the large, freer movements and
emotionally driven expressions of Gao's contemporary-dance language.
What extended the mother's dynamics were the sweeping circles of quick,
small steps and the brilliant use of long sleeves that danced in waves
and circles. The daughter flung herself relentlessly into outpourings
of anger, frustration and rebellion against her mother and the restrictions
of the culture and society she represented. The uncontrolled, flaying
movements, her limbs tossing freely in extravagant dance movements,
were a stark contrast to the contained folk-dance vocabulary of her
mother.
One of the show's most poignant moments came when the mother held out
an arm from the wings, as though she was beckoning her daughter - this
welcoming gesture seemed heartfelt but when the daughter turned to repeat
the same gestures, it was clear that it was just part of a pre-learnt
dance that they both knew. Though they had shared a moment, their worlds
remained separate and the emotional tenderness that the daughter sought
was again restricted. In another instance, mother and daughter were
joined by a stretch of red fabric symbolising the ties that bind and
can never be broken. At the end of the dance, there was a sense of reconciliation
when the mother shed the heavy cloak of tradition to be united with
her daughter.
The mood of the production was enhanced by focused, hard-edged shafts
of light created by Huang. Shafts appeared on the floor and these guided
the dancers in pathways restricting the space of the dance sequences.
This lighting scheme metaphorically reflected the themes of the narrative
- it gave a sense of rigidity and fixed points that could not be changed.
Even the last moments of the piece depended on the lighting as Gao tentatively
trod across the stage in a single shaft of light that lit up her face.
Liu's score created the rhythms of the dance and her singing, the atmosphere.
The mood was mainly melancholic, sometimes rhythmic and frenetic, but
always reflective rather than joyful.
Superb dancing in completely different styles, combined with mature
performances by seasoned professionals and creative sound and lighting
- this made for a powerful performance that played out their struggles
and final acceptance of each other, and the divergent paths they had
taken with their lives and their dance. |
"This was a delicate, intensely emotional work for two"
Credits
Choreographers and Performers: Gaoyan Jinzi, Luo Lili
Lighting Designer: Huang Zhigao
Composer, Vocalist: Liu Sola
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