Ballet Revoluciòn

Cuban culture was back in Brisbane this last week as part of Ballet Revolucion's national tour, this time with a team of 19 trained dancers from the Escuela Nacional de Arte modern dance facility and Escuela Nacional de Ballet in Havana. This was a showcase of their local talent and incorporates a selection of choreographic works inspired by a mix of Afro Cuban dance traditions, street dance, classical ballet technique and set to an eight-piece live band playing Latin American/R&B/hip-hop/the hits of Sia, Bruno Mars, Beyoncé, Jessie J, Rihanna, J LO/ ..... you name it .... the list goes on, and on.

And this was the problem with this presentation. It did go on, and on, rather a like a spinning wheel; but also like a stone gathering no moss. Sitting through this monotonal wash inspired me to emphasise the importance of a whole evening/matinée of Dance being viewed as a piece of theatre, not just a visual interpretation of a selection of songs and group music. Good theatre needs light and shade, timing, continuity and direction: here we saw predominantly a visual interpretation of a live gig. That may be okay for some, but this is advertised as a dance event.

I have lived through a few generations of dance traditions and originally I was supportive of experimenting with traditional styles, dabbling with different forms of fusion, but after a while I began to see a mish-mash of proportions ebbing on the whimsical, almost to the point of wondering whether it really does work to mix gravy with chocolate sauce. Classical ballet has been worked to the bone for years by many choreographers and there are some brilliant works with a modern feel (Balanchine was one of the first and the list goes on from there) and, more importantly, these works are all good theatre as well an inspiring vehicle for dancers with depth and imagination. I don't have a problem with a classical dancer pirouetting across the stage in the middle of a, for example, hot salsa routine but in the majority of instances in this production these juiced-up fusions just didn't work as a piece of theatre.

With a population of over 11 million, I was hoping Cuba would demonstrate an approach of more international standing to its touring production rather just a showcase of its graduates.

Having said all this, the band provided a good backbone to the performances and there were a few notable dancers. Unfortunately the programme lists only six segments with a brief description from the choreographer so one was somewhat confused by the torrent of bodies twining their way through the vast array of monotonal, at times awkward, routines. I lost count in the haze.

Time for the scissors.

The segment Concierto de Aranjuez worked for me, not just because it is a famous work, and an interesting up-beat version to boot, but because this had choreographic charm and a fabulous trumpet solo from Thommy Garcia Rojas.

On the Caribbean island, dance means 'life'. Is it something to do with the weather?

Brian Adamson

Photographer: Guido Ohlenbostel.