Elements of Freestyle

Adding flair to an already eclectic festival program, this Dutch-based collective of ten performers portraying a fusion of urban sports and dance against a background of pre-recorded electronic music combined with a live violinist and cellist, burst onto the stage last night as the final opening-night performance of the festival. Met with glee from an enthusiastic audience, the cast of eight zig-zagged, spun and grooved around the mobile stage exhibiting a blend of breakdance, in-line skating, skate-boarding, acrobatics, street juggling and contemporary dance all with enthusiasm and gusto. 

ISH has been around for almost 25 years providing educational outlets and opportunities for talent from the hip-hop community to express a form of liberation-of-spirit indicative of the times but more in a theatrical medium. Creator, Writer and Director of this show Marco Gerris, part visionary  - and part traffic controller! - assembled a selection of individuals from the organization to weave these styles into a show with distinctive divergence aimed to entertain. Highlights include Break-Dancers Arnold Put, Dietrich Pott and some great routines from Freestyle Basketballer Michael van Beek.

Since the 1970s I have witnessed a myriad of attempts at stylistic fusion, some quite extreme, and very prevalent in Holland during that era, a country that became an epi-centre of freedom of expression with a new look at society trends. Viewing this show reminded me of various forms of artistic exploration in those days, which will always be never-ending, but in time I began to witness creations where certain established forms of technique short-circuited, faltered - for example, a ballet combining traditional classical dance technique combined with contemporary Graham technique: chalk on blackboard - which eventually resulted in a return to a more in-depth focus on traditional forms. In contrast, this show leans more on showcasing the raw creativity of ISH performers, creating a theatrical demonstration of urban street-life culture rather than a conventional dance production.

What is particularly original, in true Dutch style, is the use of live violin and cello against a backdrop of pre-recorded somewhat hip-hop electronic music. Composed by Rik Ronner, the fearless Vera van der Bie (violin) and Annie Tangberg (cello), the former two playing live, almost a rave-machine duo on heat, the score is a remarkable look at the versatility of these two traditional classical instruments. Similar to a rock concert guitarist, the violinist had a collection of foot pedals, often distorting the sound while blending her instrument into the electronic score with the greatest of ease: relaxed, poised and energetic, a form of musical fusion rarely encountered; and without a music stand in sight. Putting this original dexterous score together would have been a mammoth task for all three involved and deserve praise and recognition for their diligent hard work including the task of combining it all with the action on stage.

Despite pacing with set-changes and lashings of repetition with the skating, this is a show - more a demonstration - with a difference, a thoughtful concept in crossing boundaries between street culture and theatre. So if you’ve ever wondered what would happen if you locked a hip-hop crew, a quasi circus troupe, two very adventurous string players and an enthusiastic electronic muso in a rehearsal room with a stack of Red Bulls, ISH has your answer! Opening night brought an enthusiastic reception in true Brisbane fashion; in return was an obviously appreciative cast.

Brian Adamson

Images by Michel Schnater