This is a review of the dance piece "Groove," which premiered in Mannheim on Friday, October 25th, 2024, at 8 p.m. at EinTanzHaus.
Jonas Frey and his team have played a key role in the expansion of urban dance in Mannheim. Their recent piece involves turning club dance routines into a refined theatrical performance, which has impressed the usual crowd at #EinTanzHaus. Nevertheless, the inquiry persists: How does the distinctive fusion of street dance styles and contemporary choreography in urban dance effectively resonate with the audience?
"Groove" is a performance that begins with a sense of timidity and contemplation. Initially scattered across the theatre, the dancers converge towards the central stage, executing a brief rhythmic sequence characterised by subtle bounces accentuating the music's beat–grooving. At its inception, this routine is a delicate movement exploration, exuding a bashful and modest quality without any desire to draw attention. It's as if they are dancing in silence, even though the music remains throughout the piece. As the groove routine progresses, it expands and develops, fostering a sense of unity and camaraderie.
Throughout the group dance, a simple hand gesture on the shoulder conveys the message of unity in sticking together rather than drifting away from the group's rhythm. This deliberate tempo, necessitating patience, evolves into a rhythmic and emotive experience as the solo performances delve deeper into their personalities. The uncomplicated nature of the movements captivated the audience, gradually changing their perception into a purposeful emotional depth that permeates through the dancers' bodies. The charismatic artists Mike Planz, Gabriele Aidulis, and Andrea Böge epitomised the choreographer's essence on stage, eliciting a heartfelt reaction.
Although there is a traditional aesthetic that physically separates the audience, dancers, and musicians, it is worth noting that the performance unfolds at the #TrinityChurch (Trinitatiskirche) theater. The deliberate stage design and layout establish a sense of distance, positioning musician Kasia Kadlubowska away from both the dancers and the audience, despite the fact that her music, a collaborative creation with Vunky Leo, significantly contributes to the emotional depth of the dance. This spatial segregation does not disrupt the unity of the performance, as each participant remains dedicated to their specific roles throughout the show. Some viewers may have wished to be closer to the dancers during the performance.
Jonas and the group exhibit a distinctive skillfulness in Groove that doesn't rely on acrobatics or storytelling. They also demonstrate a strong bond and pleasure in dancing collectively. This performance stands out by consistently presenting work without pretentious grand narratives. Through the creation of a captivating and identifiable vocabulary, the dance significantly impacts the spectators' perception.
It is important to note that the artists share a strong bond and mutual admiration, stemming from their history of collaborating on previous projects. This connection is evident in their most recent performance, which showcases their skills and makes a significant contribution to the evolution of dance art in Mannheim.
Leonardo Rodrigues is an autonomous dance educator, performer, researcher, and choreographer living in Mannheim. His primary interest is how choreography can be a powerful tool for transforming individuals and communities.
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