Nina Rajarani:
‘Quick!’
Jonathan Lunn:
‘Self Assembly’
Lucy Suggate:
‘Post Card’
Federick Opoku Addaie:
‘Silence Speaks Volumes’
Luca Silvestrini:
‘B for Body’
Of the four Lucy Suggate’s ‘Post Card’ was the highlight for me. This challenging, emotionally charged dance revolved around an intimate dance trio. James O’Shea’s performance with use of only his upper body, in a wheelchair since losing his legs in 1998, was particularly impressive. In an age where many don’t know quite how to react to disability, dance can be an important and novel medium for communicating the strength, normality and sexuality of the body despite its lack of two limbs. O’Shea was agile and spectacular making full use of the two poignantly empty pink leotard legs as he moved fluidly from sheepskin rugs, to the wheelchair and backs of the other dancers. While still donning their leotards, it was clearly a show of eroticism with a sensuous sinuous dance. It was a daring subject matter for Lucy Suggate to choose. Perhaps it was too challenging for the audience, upon voting it was surpassed by the likes of ‘Self Assembly’ and ‘B for Body’. Was it too risqué? Perhaps. The British sea side theme involving cinema projections upon three background screens further contributed to the hedonism. It was however a little incongruous and if excluded a more interesting, powerful focus on sexuality in the case of disability would have been evident.
Jonathan Lunn:
‘Self Assembly’
Lucy Suggate:
‘Post Card’
Federick Opoku Addaie:
‘Silence Speaks Volumes’
Luca Silvestrini:
‘B for Body’
Of the four Lucy Suggate’s ‘Post Card’ was the highlight for me. This challenging, emotionally charged dance revolved around an intimate dance trio. James O’Shea’s performance with use of only his upper body, in a wheelchair since losing his legs in 1998, was particularly impressive. In an age where many don’t know quite how to react to disability, dance can be an important and novel medium for communicating the strength, normality and sexuality of the body despite its lack of two limbs. O’Shea was agile and spectacular making full use of the two poignantly empty pink leotard legs as he moved fluidly from sheepskin rugs, to the wheelchair and backs of the other dancers. While still donning their leotards, it was clearly a show of eroticism with a sensuous sinuous dance. It was a daring subject matter for Lucy Suggate to choose. Perhaps it was too challenging for the audience, upon voting it was surpassed by the likes of ‘Self Assembly’ and ‘B for Body’. Was it too risqué? Perhaps. The British sea side theme involving cinema projections upon three background screens further contributed to the hedonism. It was however a little incongruous and if excluded a more interesting, powerful focus on sexuality in the case of disability would have been evident.
1 comment:
It sounds amazing, Anna. Did all the entries involve disability or was this the exception?
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