Ja Nein

On Saturday, I was with a packed house at The Fleck Dance Theatre for the final night of ProArteDanza's The 9th! Over the years, I have seen pieces from this dance company set to one of the movements from Beethoven's 9th symphony. But after almost 10 years, it was all coming together as a complete work.

ProArteDanza bills itself as a contemporary ballet company. Throughout the evening, that DNA was evident in the melding of modern dance, sometimes even hints of hip-hop/break-dance repertoire, with classical spins, extensions, and lifts. Their other strength of dazzling speed and pairings were also on full display.

Co-choreographer Roberto Campanella wrote that he took some inspiration from images and videos of families separated by the Berlin Wall. That was made literal in the 4th movement by a video projection of a huge barricade made from wooden chairs that slowly fell apart. On stage, the 2nd movement had a row of chairs with dancers moving and reaching for each other across this artificial wall. At the start of the 3rd movement, these chairs became collaborative and positive props that, in some cases, were linking them together as the performers formed chains by holding on to the chairs between them. This middle part was my favourite portion of the work.

It also highlighted the main theme throughout: both sides of unity and individuality. In unity (and often propulsive formation choreography), they found strength and comfort. But there was also oppression and confinement. In individual freedom, the dancers soared. Yet their movements sometimes became disjointed and staccato. It was as if social isolation caused a breakdown of their mental psyche.

The last section was the weakest, relatively speaking, of the work. But it was due to the huge, cultural impact of "Ode To Joy" in the 4th movement. It is simply too difficult, perhaps impossible, to put your own definitive stamp on such monumental music. The 9th! was one of the most enjoyable dance recital I have seen in a while.