Choreographer Denise Fujiwara's introductory comments were
most welcome. She took us into the
deliciously clever poetry of Christian Bok that inspired her with its
manipulation of systematicatically deleting vowels. Fujiwara then explained how she applied the concept of
artful elimination or constraints to her choreography, avoiding the customary
repetoire of dance forms and ensemble dancing. As a result, I was expecting something that might be described
as minimalist. Boy, was I wrong!
As soon as the audience entered the theatre we were greeted
verbally and welcomed with smiles and open gestures by a dancer. The breakdown between performer and
viewer had begun and was a constant in the performance. We engaged in games, won silly prizes,
had our photograph taken and projected, we were even served beer, pretzels and
popcorn. Engagement would be a key
word for me in describing what was at all times and intense dance theatre
experience. Unexpected
juxtapositions of movement and word fused comedy and tragedy.
Despite the adult content wit and whimsy of Fujiwara's
choreography and the seamless performance of her five-member troupe there was
no doubt that this was serious dance for serious viewers. It was a sustained and sophisticated
exploration of storytelling through movement, spoken word, music, projected
text and rich visual use of costume and staging. It was a marathon through literature, visual art, popular
culture and more; it left you wishing for a rewind button because you were sure
you missed something. Eunoia could
be seen several times before its nuances could be exhausted.
On Saturday night in St. John's, the audience eagerly
followed every beat of Fujiwara Dance Inventions and erupted into an unequivocal
standing ovation for their powerhouse performance. What a way to end a dance festival!
