“Bone and bark”: the multitudes of Roger Sinha

«D’os et d’écorce»: les multitudes de Roger Sinha

Photo: Vitor Munhoz
The movement is beautiful and fluid, with a few happy moments of rupture.

“Bone and bark “. Nice as this new creation by Roger Sinha, evocative of a certain continuity between the corporéités of the six dancers and didgeridoos which plays the choreographer on stage. The desire of pollination and symbiosis seems to be key to this meeting of music and diverse cultural influences.

In a corner of the tray, holding musical instruments, including percussion and a didgeridoo in front of a microphone. At the center, the dancers form a semi-circle, their backs to the audience. A hand crosses the gap between the body, then an arm, then a leg perched on high. Through the rampart of dancers, we picked up bits and pieces of the movements of a performer.

On the friction and friction between the group and the individual, this new work by Roger Sinha gives his contemporary pollinated by a variety of grammars of the body, drawing particularly, but not only, in its multicultural heritage : the Bharata Natyam indian classical, martial arts, classical dance… perhaps the language of signs, and the baladi to the mobility of sternums ?

Body musicians

The movement is beautiful and fluid, with a few happy moments of rupture. Hands twining, sometimes curved like the beak of a bird, legs dizzy, arms that surround and include, jumps and charged through duos, trios, tables for groups and solos. The solos are talkative, such a manifesto. When they are together, the dancers are in constant dialogue, through the eyes also. Their mouths move, their breaths are sound, they contribute to the musical score by vocalizations and screams, and just as many body musicians.

Because music is not a stand in this creation. Roger Sinha is on the board, playing multiple didgeridoos. The choreographer known for his contemporary dance hybrid and a recipient of the prix Charles-Biddle would have found it in the instrument aboriginal relief in breathing problems. It is accompanied by Bertil Schulrabe on percussion. A soundtrack is also broadcast, created by the composer’s lebanese-canadian Katia Makdissi-Warren with the artists inuit Lydia Etok and Nina Segalowitz, which you can hear throat-singing in the tradition of the katajjaq.

«D’os et d’écorce»: les multitudes de Roger Sinha

Photo: Vitor Munhoz

Bone and bark is a successful piece, which often moves and inspires. It is accessible and might make a good introduction to contemporary dance, while being sophisticated. If the synthesis between the music and the vocabularies of various origins, carried by dancers, charismatic, works, one would have liked to see a little more snags, of lines of flight in this dance virtuoso. We often have the impression that intercultural dialogue, to have the freedom of the city on our scenes of the west, must be combined with the spectacular.

We were more transported in the latest creation by Roger Sinha is, in fact, the presence of the choreographer himself. Great corporeality that the siena, built on his didgeridoo, across the stage as a guide, accompanying the sounds of his instrument by shouts and incantations, with his hands and his entire physicality that unfold. Made of bone and bark, we could look at for hours.

Bone and bark, Sinha Danse

Choreography : Roger Sinha in collaboration with the dancers Performers : David Campbell, Sébastien Cossette-Masse, Marie-Ève Lafontaine, Benoit Leduc, Erin O’loughlin, Francis Richard From 22 to 25 January, Agora de la danse, building Wilder

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