By Lauren Warnecke
There is a casual demeanor to the eleven men of Compagnie Kafig. Watching them, one believes for a moment that these are just dudes hanging out and dancing together. That’s what happened to me, anyway. As their performance this weekend went on, I came to realize that nothing about this show is unplanned. The finest details are attended to, which makes the air of nonchalance even better.
What must it feel like to be a French, hip-hop dancing man who looks good shirtless? I guess I’ll never know, but Compagnie Kafig is the epitome of cool. In this double bill featuring two works inspired by the Lyon Dance Biennial Artistic Director Mourad Merzouki attended in 2006, there are moments that emanate a purely fun and exhibitionist form of hip-hop - you know - the backflips, head spins, impressive lifts and floppy things. I admit I came in to the Dance Center of Columbia College that evening expecting only that, and came out blown away not only by the tricks, but by the artistic integrity these men bring to the work. Equally weighted to the fantastic, athletic tricks were equally impressive moments of high art. Both works on the bill shared similar attributes: sophisticated lighting choices, eclectic music spanning a gamut of eras, elaborate and creative use of props, and solid composition that places this French hip-hop crew easily alongside the best of contemporary dance companies, with head spins. I wondered: when hip-hop enters the proscenium setting, what differentiates it from Modern Dance?
Correria and Agwa are cut from the same cloth. Though different in many ways, the program presents them as Correria Agwa, indicating this is one larger work separated by an intermission. Indeed references from South American forms such as capoerira and samba appear in both halves, as does a compelling juxtaposition of hip-hop and latin dancing against Western classical music (perhaps a reference to European colonial influences in South America). Motifs and gestures from Correria would be hinted at in Agwa from time to time, and the continuity of cast helps audience members to view this as a single concert.
Agwa is a particularly compelling dance, primarily in its clever use of clear plastic Solo cups. The scene opens on a solo dancer surrounded by precarious Solo sculptures. Spoiler alert: they fall down. Then, those cups are exploited for everything they are worth over half an hour. The cups create sound, humor, landscape, amazement, and when thrusted into the air by all the dancers of Compagine Kafig, they make for a profound moment of chaotic tranquility that won't soon be forgotten. Following that moment is a ferocious tarantella, and a final quenching of thirst. Agwareferences its title as subject matter from every angle, including the one about dancers getting thirsty after all those backflips.
Looking out at fellow audience members, it occurred to me that Compaigne Kafig is a perplexing and awesome ambassador that has the ability to transcend any one particular audience. Hip-hop people, modern dance people, ballet people, and avante grade people were all in tow, and, by the end, all on their feet. Honestly, I could have used without the third encore of backflips… at that point it just seemed like showing off. But if we, the audience, have to stroke the egos of Compagnie Kafig a little bit to get them to come back, and soon, it’s definitely worth it.
Reviewed by Lauren Warnecke on 02/23/2014 at 7:27 PM