The sensory of the dancers’ movements projected an aura of an overwhelming system, which conveyed power and pain from the three dancers’ bodies. Uniquely taking eyes through a figurative journey, as their bodies effortlessly would vigorously flop and rise, their fluidity hypnotised, leaving you mesmerised to the depths of how political distress affects the mental and emotional state.
The music was upbeat. In beat we witnessed a fusion of dance styles such as krumping, popping, electro funk gliding to the counts within the music flow that went to the rhythm of 1,2,3,4 but automatically speeded up to their heartbeats chanting 2,4,6,8. This soon boomed to a higher frequency as they began spinning, breakdancing and exploiting various other hip hop movements, perfectly synchronised to the music produced by Michael Asante.
The three dancers were all dressed in white, visually moving our brains due to the expressions of strain and their reactions of torment in vain. Their clothing interestingly had straps, tied down to their chests. You could feel the dancers’ hearts race, pumping to the counts of 10, 20, 30, and 40. The repetitive moves majestically synced. Projecting moves of life and power whilst they embraced an emotional energy, triggered by a world we all know so well.
The second half brought even more intensity to the stage. A batch of five guys enchanted moves of ill health, in an oppressive nature. Their violence embodied was evidently from a segregated culture. Hope was their supply, their influence was their leader, precautions were their discipline, and the misguided was their teacher. These five guys were full of anger and despair, soon joined with the three dancers seen at the start, who slid along the floor. The dancers’ resonated hurt from colonisation, mixed in with an identity crisis leaving one of the main dancers fatally hurt; as if he had been wounded, portraying weakness, no vacant strength in his strive to fight.
When he was solitary on stage, the lights were flooded with a sparkly white, glossy effect with smoke filtered across the stage. The dancer during his solo dance act was regenerating, embodying martial art movements as a sign of him strengthening and empowering.
A scarlet cloth was draped around this dancer, which instinctively held a connection to culture. We saw that what was lost had been restored. As the dancers re-joined him they all effectively started tribal dancing. Incorporated into the dance moves were light bouncing, embracing, smiling, culture, architecture of hearts rejoicing, as their bodies bounced like tigers. It became an expression of unity and life between the past and present of home manifested through hip hop dancing.
The artistic designs on stage, blossomed the audience with amazement as masks were slowly hanging down on set, the room went dark revealing these masks to now have vibrant, glowing colours which brilliantly had the same facial patterns duplicated on to the dancers faces. The luminance radiated from their trousers, bursting colours of blue, with a reddish, orange tint.
The music consisted of heavy, deep drums and heartfelt string instruments. The ambience was uplifting as it radiated emotions of tranquillity, hope, victory and a full tribe of life. Each dancer individually performed a solo as themselves, which conveyed their known identity. The colours from the projection resembled a sunset in the background displaying colours that were warm and exotic. The artistic designer wonderfully exhibited streams of a liquid gold sunset display as they danced like it was their last time. Full of energy, fire and enjoyment, zero stopping involved.
The final dance moves had huge arm swinging incorporated, with big feet stomps and jumps symbolising freedom and happiness. In slow motion as the music began to fade and the magical sunset went down we saw the elegancy of them walking off into sunset together, representing strong unity within their community, who were born to survive.
A powerful production!