Let me begin with a confession. I waited a couple of days before I started to write this blog post about Csilla Nagy’s new choreography, titled Öböl (Bay) that was released first in April and now in the end of September at L1danceFest 2015. As far as it is concerned, I waited a whole week and it was a huge mistake.
|photo: Roland Szabo|
Would you ask me why? I can tell. I remember how vivid my feelings and thoughts were right after the performance; now I can recall them just mistily. But I still remember clearly the pure and delicate construction of the choreography; how it began to build up from one simple movement combination and how it started to stall and disintegrate slowly. It was a very interesting implementation of Nagy (i.e., to represent the clog of movements), since it uncovered something from the inner side of the nature of choreography. Nagy visualized and magnified the broken-silenced moment between movements, the always-already presented error in continuity. Therefore, the choreography literally became a hiccup in moving that breaks both the continuum of movements and the flow of perception. Her dance refuses (and criticises) the traditional way of being-in-moving and in lieu of that it emphasizes the void that makes possible for some quizzical and unique movement qualities to become visible. To borrow a gritty expression of Nadia Seremetakis, the performance actually becomes through hiccupping a ’still-act‘; a choreography that works as a pole, therefore it steps out of historical perception of time and space. ”Stillness is the moment when the buried, the discarded, and the forgotten escape to the social surface of awareness like life-supporting oxygen. It is the moment of exit from historical dust.“ (Seremetakis, N., The Senses Still: Perception and Memory as Material Culture in Modernity, 1994, 12.)
But stillness is just the start-up of the performance. As one of my dance critic partners (Orsolya Bálint) noted in the discussion after the performance, a feminine way of moving got started. Characteristic frivol movements, girl-power disco (or psychedelic?) dance is included, such as a strong scene with slaps on the face. The main characteristic of these images is the delicacy of movements with silky-elegant moving. Even if the dramaturgy should have been a bit tighter, Nagy’s Bay is a beautiful and unique enunciation about being-in-moving and shows us an alternative way of thinking.