18 October 2019. Theatre 3, Canberra. The Chaos Project
The Chaos Project has long been a feature of the Canberra dance scene. Designed for the young and less experienced of the dancers who are part of the QL2 Dance community, each year it has a different theme. This theme is examined through a series of short works, which are combined seamlessly into one, hour-long production. Each section is choreographed by a professional choreographer and a few older dancers from the broader QL2 Dance community join with the younger ones to help the overall work move along effectively.
In 2019 the Chaos Project had the theme of power—in a variety of manifestations. The youngest performers danced out ideas of physical power, to choreography from Olivia Fyfe. The intermediate group (intermediate in age and experience) examined, through the choreography of Alana Stenning, the idea of ‘superheros’ and asked the question ‘who is the real superhero’? The older dancers performed choreography by Steve Gow and their theme centred on who abuses power and who uses it wisely. An introduction and conclusion were choreographed by Ruth Osborne and two other works completed the program, one an all-girl piece with choreography by Fyfe and Stenning, and one for boys only with choreography by Gow.
Choreographically, Power was well-constructed throughout and what always surprises me (although by now it probably shouldn’t) is how the technical limitations one might expect to see in young dancers are in fact never obvious. If they are asked to move in unison, they do. If a solo is required it always looks strong. And the sheer dedication and involvement of every dancer shows clearly. Credit here to the choreographers!
Perhaps the most fascinating part of Power was the all-girl section, ‘I Rule’, from Fyfe and Stenning. As it began the voice of a narrator could be heard telling the story of a princess in a far away land and her impending relationship with a suitor. My heart sank momentarily. But, as the dancers began to act out and dance this story, their attitude began to change. Towards the end they rejected the story and the role the princess was expected to play and by the very end their outraged voices drowned out the narrator. Feminist power at work!
The Chaos Project is a great initiative from QL2 Dance. It gives young dancers opportunities they rarely get elsewhere. Those opportunities include in particular the power to make a creative input to dance, since the dancers contribute ideas on how the work will unfold, both conceptually and technically. But it also gives them the opportunity to see how a professional choreographer works; how to use the space of the stage effectively; and more.
The Chaos Project is just one of the ways that QL2 develops and nurtures potential artists and audiences and gives work to professionals working across the arts.
Michelle Potter, 21 October 2019
Featured image: Scene from the closing moments of Power. QL2 Dance, 2019. Photo: © Lorna Sim
2 thoughts on “Power. QL2 Dance”
THE QL2 project sounds focussed and interesting. Good on everyone involved.
The review put me in mind of two youth dance projects in documentary film format that I have found galvanising — some time ago, but still with energy
Jacques d’Amboise’ He Makes me feel like dancin’
and Royston Maldoom’s Rhythm is it.
Versions of both can be found on YouTube, and worth a look for those who haven’t seen them, or want to be reminded what choreographic vision outside the proscenium arch can offer.
Thanks Jennifer. I found both items quite easily on YouTube. What an inspiring teacher of the young is Jacques d’Amboise! I loved what those young people were saying about dance, and they were so committed to dancing their hearts out. It did remind me of QL2 classes and rehearsals in many ways.
As for the Royston Maldoom item, there were similarities with QL2 productions, although there are never 300 young people on stage in Canberra! It was especially interesting to see the intensity with which those young performers approached the Maldoom work, and the way in which dancers from across various age groups were incorporated into the work.
Thanks for pointing us in the direction you did.