danceviewtimes

American Mixture:
”Planet Wonderful” (Matjash Mrowzewski);”Dancing on the front porch of Heaven” (Ulysses Dove);
“Rhapsody” (Nicolo Fonte)
Royal Danish Ballet

Gamle Scene
Copenhagen, Denmark
March 17, 18 2007

by Eva Kistrup
copyright ©2007, Eva Kistrup

I do not think that Frank Andersen dislikes modern ballet. He has commissioned several new modern ballets, he has served on the board of the leading alternative modern Danish company, and he has been active in setting up competitions and prizes for new choreographers. His visions definitely go beyond his happy Bournonville boy image.

But liking modern ballet and understanding the artistic process on how to create a modern work of quality eludes him as a ballet master. And that is the main reason why so many attempts to get original modern choreography into the RDB repertoire fail. This week's programme, American Mixture, is a prime example of how not understanding and respecting the choreographers' integrity leads to second-rate works and programmes that are not really interesting for either audience or dancers.

The main culprit in this process is the strategy of having secondary agendas tied to the modern programmes. Last time around the modern programme had to be Nordic and celebrate Mozart as well. This time, the secondary agenda is to appeal to a young audience. Therefore the invitation to choreograph for the RDB carries the obligation of agreeing to use Danish pop composers and fashion designers in order to get a hip feel that is supposed to appeal to the evasive young audience.

The printed programme also includes the new RDB music policy, which states a commitment to new Danish music. This sounds hollow when all this programme can offer is remixed pop, not commissioned music. There may be a sincere wish to reach out to a younger audience, but what is the basis for the misconception that this could be done with less of an artistic commitment than other programmes require? Why choose choreographers who had never been specifically youth-oriented?.

There are two basic principles in creating modern success in a classical company. One is to choose choreographers with a genuine interest in the classical vocabulary. The other is that choreographers who are integrated in the company's daily life make better works. So instead of depending on travelling choreographers, it's best to either work with the company's own talent or create a stronger bond with selected visitors.

And finally, how modern should a classical company be? With a thriving modern scene outside the Royal Danish Ballet, surely there is no need for RDB to imitate what can be done as well outside. As long as the management continues to see and use modern ballet as an easy option that can be used for quick and cheap fixes, real success and quality will evade the company.

“Planet Wonderful” by Matjash Mrozewski used music by Søren Rasted, the composer behind, and a member of. Aqua, the most internationally successful Danish pop group, known for the worldwide hit “Barbie Girl”. He mixed music and spoken voice that is used for yet another take on the modern, media-dominated metropol empty existence. Youth oriented! It looks exactly like what was produced with the same agenda 30 years ago.

The middle part of the evening was reserved for the only non-original work, Ulysses Dove's elegy: "Dancing on the front porch of heaven” from 1993, a work for six dancers. It is neoclassical, serious and in the line of the typical modern-style elegy, of which we have had several examples in the repertoire.

Finally “Rhapsody," by Nicolo Fonte with live performed music by Kira and the Kindred Spirit and costumes by fashion icon Mads Nørgaard, comes across as a mixture of a rock concert and a cat walk. The RDB dancers get a little lost in the mix, since all that is needed is for them to look hot and pose. The dancing takes second position to the singer. It is good rock but bad ballet.

It is a good idea to try and reach out to a young audience, but why continue to do it with lesser material? Maybe youth audiences could be enticed by putting on a short festival that allows the young audience to see all aspects of ballet and create a real ballet concert. Rather that or the simple solution; present ballet at its best.

Photos by Henrik Stenberg.

Volume 5, No. 12
March 26, 2007

copyright ©2007 by Eva Kistrup
www.danceviewtimes.com

©2003-2007 DanceView