Unholy Trinity: Salome, Dolly and Softer Swells @ Dance Base

An interesting triple bill of solos by three talented choreographer/dancers – Spanish-trained Avatâra Ayuso, Venetian Giorgia Nardin and Irish Aoife McAtamney/DISH Dance – that explores and subverts female stereotypes: the dangerous, alluring Salome, a Barbie doll, and traditional Irish femininity.

Avatâra's Salome confronts us in a red dress that almost has a life of its own. Its streamers suggest the constraining ties of her highly sexualised dance, and hint at the horrific price she will ask for in seducing Herod. Not the dance of the seven veils, but equally conforming to male views of sexuality, the portrayal is at first predictable, but Avatâra's moves, yanking her head back, stroking her throat, suggest the violence to come. A stunning ending with her own head nestled on the folds of her red dress like on a platter depicts the fate of John the Baptist.

Giorgia Nardin's Dolly is equally constrained, but in contrast, by denial of sexuality, or any humanity. The piece subtly explores the movements of an automated creature and progresses to a happy conclusion where the dancer walks towards the audience and smiles, able at last to feel and embrace others. A beautiful rendition of an Irish traditional song opens the last piece by Aoife McAtamney, followed later by a version with rather more raunchy words, inspired by rap lyrics. The contrast between the latter's words and the dancer's unsexualised but energetic, strong movements says more about natural femininity, unfettered by male projection. [Stephanie Green]