London Contemporary Dance School: Music Collaborations

The Place, Robin Howard Theatre

Saturday 5th December 2015


London Contemporary Dance School: Music Collaborations

Yue Ton Kwan/Cameron Dodds Friends Minus Two

Waddah Sinada/Jack Sheen Ominous

Vincent Jonosson/Mo Zhao Constellations

Jamie Chapman/Joshua Borin Personae

Maeve McGreevy/Toby Huelin Another Way of Talking


Music and dance are two sides of the same coin. A melody or a beat sparks an irresistible urge to move; whether to tell a story, push artistic boundaries or to shake one’s tail feathers just for the sheer joy of it.

Students from Guildhall School of Music and Drama and the London Contemporary Dance School join forces to explore the marriage between music and movement. There is a distinct absence of tail feathers, instead, five thoughtful pieces expressing the synergy between two constantly evolving art forms.

Choreographer Yue Tong Kwan opens the evening with Friends Minus Two. The dancers contribute their own vocal ticks to Cameron Dodds’ score, giving voice to their physical exertions. Kwan works with a refreshingly light touch, which hints at the absurd, but doesn’t topple over into clowning. Friends Minus Two is a fine-spun weave of choreography and sound.

Ominous, choreographed by Waddah Sinada, is deftly sinister. Dancers encircle one another, spliced by a series of rapid blackouts. Composer Jack Sheen creates a darkly atmospheric score entirely out of percussion. This is a well-crafted, textured work; with tightly-knit, pacey ensemble sequences and crisp articulation of movement. A strong partnership, Sinada and Sheen create and sustain tension, which leaves my spine tingling.

Dancers and musicians enter the stage together at the start of Constellations. The deep, earthy call of a didgeridoo initiates movement. Performers run in wide circles, meeting briefly to connect and disperse. Lilting arpeggios on the piano and trilling violins echo the restless motion. Mo Zhan’s music and Vincent Jonsson’s choreography work hand in glove. The material is a little thin in places, but the piece finds it own rhythm and integrity.

In contrast to the quiet solidarity in Constellations, Personae opens with four solitary figures in hooded dresses, each isolated in a pool of light. Their long skirts catch the residue of their movements, rippling around their legs. Choreographer Jamie Chapman and composer Joshua Borin evoke a brooding inner struggle. A change in mood, reveals their alter-egos. In jeans and t-shirts, the dancers spill out into the space. With forceful, probing gestures, they appear to escape their confinement and experience the world anew.

Another Way of Talking choreographed by Maeve McGreevy ends the evening. The space trembles with the sonorous sound of two cellos, played by David Råberg-Schrello and Katy Reader. In striking black costumes, a trio of dancers penetrate a sparse musical landscape composed by Toby Huelin. Silence and stillness act as a counterpoint to explosions of musical colour and movement, creating contours of light and shade. Another Way of Talking stands out as the most sophisticated exegesis of music and choreography, but it doesn’t quite land. It feels like five competing monologues, rather than a conversation.

Philippa Newis


On 9th and 10th December, London Contemporary Dance School and the Wimbledon College of Art and Design present an evening of explorative dance challenging the role of dancer and designer in performance. For information and tickets, click here.


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