Recently landed: All that Glitters: highlights of 2014, Gracia's written response for Fjord Review
Before a new year is ushered in with fireworks and resolutions, there is just enough time to reflect on what has been, and prepare a list of dance highlights from 2014. The only trouble being, it quickly transpires, I am no good at list making. Some may rank higher, but all offered something; all enabled me to feel. My belief that you cannot see a work unfold without finding some gem to pocket was not tested this year, and so ‘if you look, you will find’ remains my unchallenged maxim.
Nestled up high on my list, the Australian Ballet’s performance of Wayne McGregor’s serpent slithering, electrified abstraction, Chroma (2006), and the foil-tipped sharpness of Jiří Kylián’s Petite Mort (1991) paired with Sechs Tänze (1986) (presented in the company’s triple bill with Stephen Baynes’ 2014 work, Art to Sky in June). Part languid wave one moment and trumpeting hyperextension the next, I reveled in Chroma’s unfamiliar vocabulary and orchestrated conflict. And, as I knew I would, I lost myself to the theatrical and poetic dark undercurrents of the Mozart double act of Petite Mort and Sechs Tänze with its exploration of what it means to be human, exposed and vulnerable, even if wigged and dusted. On tenterhooks, wearing similar fine corseting and black crinoline, these are the works I wish to experience on repeat and feel prickle on my skin.