Fri 10 Jan: Duran 'Dee Dee' Abdullah, Salvatore De Simone and Tarantism

Duran 'Dee Dee' Abdullah ANIMA

Salvatore De Simone Ombra mai fu

Tarantism Lucid Absurdities

The 35th Resolution Festival began with Duran ‘Dee Dee’ Abdullah’s solo dance Anima. A striking chair sculpture resembling Medusa crossed with WALL-E’s Eve added a facet of Greek mythology to the performance. Wearing a Pierrot costume, Duran displayed captivating arm and finger choreography—shway dance style—reminiscent of Chinese folk dancer Yang Liping’s famous choreography in The Spirit of the Peacock. While it’s unclear if this was intentional, it introduced an intriguing layer to the techno music lyric, “What are you hiding behind that mask?” Despite a compelling start, the piece lost momentum midway, with an unclear narrative which made the staging seem underdeveloped. However, it was a confident performance with great potential.

Salvatore De Simone’sOmbra Mai Fu continued the evening’s Greek classics theme with a trio of capable dancers from Wayne McGregor’s company. The use of lighting created picturesque, scenic images, and the simple costumes complemented the performance beautifully. David Laurence Westcott’s music supported the choreography well, though moments of high-frequency tones caused discomfort for sensitive ears, likely unintentionally. While the choreography was technical and elegant blending ballet and contemporary styles, the frequent arabesques felt overused, leaving one to wonder if they served a clear purpose. Despite these points, the story unfolded gracefully with strong visual impact, though the loud high-frequency tones in parts of the music were a significant distraction.

Lucid Absurdities, a dance duet choreographed by Vasiliki Papapostolou aka Tarantism, was the standout of the evening. Set in an airport frame story, the piece transitioned into three distinct dream-like sections, blending pedestrian movement with exceptional dance, staging and lighting. Overall the choreography included graceful yet realistic falls, breakdancing with clockwork-like precision, and visceral partner work. Themes of aggression, desire, agency, and animalistic movement were deeply explored. Christopher Nas’s original music composition, ranging from classical to contemporary, added depth, making this a captivating and multifaceted performance.

To conclude, the opening night of Resolution Festival was a fantastic event and set an exciting tone for the weeks ahead.

Sumi Xiaomei Cheng

The opening night of the 35th annual Resolution Festival had a distinctly Greek flavour. It also marked the courage and invention that is a characteristic of this showcase for emerging artists that lets them experiment and develop in an encouraging and supportive setting.

The most complete of the three 20-minute-long pieces was Lucid Absurdities, choreographed and performed by Vasiliki Papapostolou aka Tarantism, with Spiros Paltoglou. Two strangers meet in an airport, where their flight to Greece is delayed; as they slump over their suitcases, they slip into a shared fantasy.
The trajectory of their encounter is defined by an initial voiceover that reveals him to be obsessed and her to be wary. The movement, sharply defined and accompanied by an evocative sound design by Christopher Nas, slips from the exploratory and tender into the predatory. In the first section, they are locked together in a duet marked by geometric lines and his hands approaching her like crab’s pincers. By the close, he is crawling across the stage like a satyr while her sharp falls suggest fear and violence. It’s unsettling, ambiguous and clever.

Ombra Mai Fu is an ambitious attempt to compress some of the themes of the Oresteia into an impassioned and atmospheric piece that sees a trio of dancers battle and engage with the shadows around them. Strongly danced by the choreographer Salvatore De Simone, Naia Bautista and Harry Theodora Foster, the movement is lyrical yet angular, conjuring the patterns of Ancient Greek friezes. The lighting is evocative, but blurry; the effects are sometimes lost at the back of the stage. Overall, it feels like a good idea that needs a sharper focus.

In Anima, a solo performed and choreographed by Duran ‘Dee Dee’ Abdullah, the stage is dominated by a plaster model of Medusa, with staring blue electronic eyes. In the course of crossing the stage, arms and body fluid, limbs twitching, Abdullah sits behind the mask, becoming transfigured. Then she exits. Change is suggested but the movement remains the same. It’s compelling but sketchy.

But there’s no faulting Abdullah’s confidence, or an evening that is full of strong thought and terrific performance.

Sarah Crompton