Ballet and The National Review of Live Art

Blog by Gareth Vile | 18 Feb 2010

Back in the early twentieth century, a conflux of anarchic aesthetes and free thinkers challenged the foundations of western high art. Dada, the surrealists, even the early cinematographers challenged realism, while contemporary choreographers threw off the restrictions of ballet, seeking a new expressiveness.

By the end of the twentieth century, ballet had taken a firm revenge on its wayward children. With the introduction of “contemporary ballet” courses and the collusion of companies like Rambert and Scottish Ballet, contemporary dance had been integrated into the fold, with even the most radical choreographers admitting that balletic discipline made for a great foundation.

While Rambert’s current programme is undeniably a feast of fine technique and diversity, taking in influences from capoeira, evolutionary theory, Brazilian fiesta and experimental psychology, it does emphasis how modern contemporary, at least in the UK, follows the same structures as ballet. This doesn’t undermine the quality of the programme - A Linha Curva by Itzik Galili makes a suitably show-stopping finale, bustling with energy and masculine preening.

Comedy of Change appears to be escaping from ballet with its take on Darwin, yet it has the same cerebral atmosphere that characterises much modern ballet, and composition. Dance explaining science may be a radical concept, and Mark Boldwin’s choreography meshes with artist Kader Attia’s stark dualistic design: the movement vocabulary is clearly in a tradition that reaches back through Michael Clarke to the likes of Diaghilev. This consciousness of heritage ensures that Comedy is accessible.

On the other hand, the true inheritors of the contemporary tradition are scattered across the world. Aside from my obsession with Belgian companies, who have created their own traditions, clichés and style, it is more often European and American companies who are chasing the original. Jasmin Vardimon dance in Yesterdays, a compilation of ten years’ worth of choreographic memories, seem to have learnt the continentals’ lessons, but the British mavericks are often excluded.

The National Review of Live Art has, of course, operated as a corrective for thirty years. By loosening its definitions, the New Territories Festival has allowed art that sets uncomfortably within any genre or medium to entertain and challenge. Having visited England recently, I am disappointed that many English companies don’t seem to make it north of Carlisle, although Stirling’s Macrobert has become a regular venue for midscale contemporary dance.

Scotland has been fortunate, through Dance Base, The Arches, The Traverse and Tramway, to have seen plenty of experimental work. This is increasingly adding flavour to national companies: Scottish Dance Theatre are tending towards the mavericks, Company Cordelia attack conventions. Natasha Gilmore has comedy touches and serious intentions. Given the breadth of practice, it is very difficult to identify a particular Scottish approach to dance.

It might be premature to talk about a “Scottish Dance” aesthetic, but as Off Kilter recently suggested, dance does provide tools to construct ideas of nationality and belonging. The long association with England cannot be shrugged off, even as European influences wax and wane: equally, the specific Scottish heritages of Highland and Ceilidh are only being gently referenced. But as Scotland the Brand is evolving, so too does the dance that can explore it.