Brilliant Moderns

Recently landed: Brilliant Moderns, Gracia's written response to the Australian ballet's Symphony in C, for Fjord Review

I raise my hand up above my head. I let it fall down. Connected to my body, my arm remains secure in its socket of the shoulder blade. My arm does not fall to the ground. My body is connected, "dem bones, dem bones, dem dancing bones." My body has my back, secure “doin’ the skeleton dance ….The backbone’s connected to the neck bone. Doin’ the skeleton dance.” And it was in this manner that I read Alice Topp’s new choreographic work, Little Atlas. There may have been three dancers on the stage, Leanne Stojmenov, Kevin Jackson, and Andrew Killian, but there was one body. One body caught up in the push and pull of memory.

When Stojmenov moved she was more than in tune with the movements of Jackson and Killian, they became one and the same. "The thigh bone’s connected to the hip bone" and Stojmenov was connected to Jackson, as she fell she was safe in the knowledge that she wouldn’t hit the floor. “The hip bone’s connected to the backbone” and Killian was a continuation of Stojmenov, a different facet of a whole. To me, I interpreted the movements as the struggle within the one body, as memories are reordered and erased by time, and the fluidity of joints begins to stiffen. The thigh bone is connected to the hip bone, but as we all know the body can’t dance forever, not quite. Best to shake it, morph it, steel fuse it like Patti Smith. Or Shakira. "My hips don’t lie [as Topp explains]…. I’ve only got a few more years of dancing left in this old bod so I would absolutely love to have a future in choreography.” And from Little Atlas a future in choreography is undoubtedly what she has.

At the coordinates 78°29’121 N 014°17’986 E, composer Ludovico Einaudi (for and with Greenpeace) performed 'legy for the Arctic', a call from the icebergs, a response on the keys, off the coast of Svalbard, Norway. And at latitudinal and longitudinal coordinates for Melbourne’s State Theatre, in similar vein tap, Einaudi’s 'Fly' and 'Experience' enabled the heart to soar. As revealed in Topp’s choreographic note, by way of two greats, Joan Didion and Patti Smith, this was about our own stored memories and “our attachment to the way these things made us feel” Fleeting time, we feel it in our bones. Transformation, while inevitable, is loss. But as Patti Smith (in her 2015 kaleidoscopic memory dance, M Train) best describes: “the transformation of the heart is a wondrous thing, no matter how you land there.”

Ako Kondo as Diana in Diana and Actaeon, presented as part of Symphony in C (image credit: Jeff Busby)