Review: no-no
Kvarnström’s no-no is still yes-yes
The reunion of Helsinki Dance Company and Kenneth Kvarnström is certainly one of the dance events of the spring. A no-no work brings out the quality and skill of the group in a way that is memorable.
No-no began Kvarnström’s successful period as the director of the Helsinki City Theatre’s dance company in 1996. At that time, the work was welcomed with open arms, and I think the return of no-no will be at least as popular.
According to Kvarnström, the new performance is 98 percent the same as the premiere. At that time, the work was performed by seven dancers, now ten, so the choreographer has taken some new steps.
The transfer of the performance from Studio Elsa to a small stage has required changes in the use of space. The Arabic signs painted on the upper bodies of the male dancers have been checked to ensure that they are correct and correct. Perhaps this is where the biggest difference can be seen from the world of 12 years ago.
The elements of the work referring to the Arab and Muslim worlds, such as some of the music and partly the clothing, certainly have a different effect in the current world situation than at the time of the premiere.
If you like, the oriental and mystical influences of the no-no book can be interpreted as a reminder of the diversity of Islamic culture, its peaceful and meditative side.
But otherwise, the work is actually timeless and placeless, as it is stripped of time-bound references and operates on the basic element of a dance work: movement, which is just as impressive as before.
Secret enchantment
Kvarnström has truly created a vision of movement that stands the test of time. The work starts off slowly, as if in a slow-motion motion, but at the end the movement accelerates into a frenzy. When the lights go out, the dancers can be heard from the stage.
The dreamlike nature of the beginning is emphasized by Jyrki Sandell’s sound design. The oriental tones of the female singer can be heard as if from somewhere far away, and only the pulse-like pulse, which buzzes like a rumble, comes from nearby.
The soundscape created by Sandell is great, and its basic solution, i.e. the recent increase in volume, works well. Throughout the work, movement, rhythm, tempo and sound accelerate in equal proportions.
The lighting and set design of the Swedish artist Jens Sethzman create a mysterious enchantment on the stage. From time to time, the yellow light coming from the ceiling colours the white dance carpet like the hot sand of the desert, while in other scenes the lighting emphasizes the black and white nature of the dancers’ costumes.
The stage is surrounded by a low platform, like a bench or wall, from which light windows open from time to time and which also serves as a storage space for props. Light spots make a large “x” on the back wall or make an individual dancer the focus of attention.
Visually, the work is deliberately sparse, darkness and soft light are magically filtered alternately.
Functional dance dance
No-no is a dance piece that does not explain its themes. It relies on dance that expresses itself, in itself.
Some themes can be identified in the work. Quickly flashing props, such as a dagger or sabre brought up by Jenni-Elina Lehto , and Valtteri Raekallio’s short stride with ram’s horns on his ears, take us to the ritual of sacrifice, sacrifice, sacrifice.
The entire work is one big communal ritual in which movement builds both a loving and a bruised atmosphere. The big group scene in the final episode is nothing but excitement, which goes on and on like fireworks of rhythm and movement.
Kvarnström’s movement transforms from a soft continuity to a rhythmic break, and it also includes a lot of lifts and throws.
The mixing of different levels characteristic of a choreographer is wild to watch.
New dancers and dance partners always catch up with the same sequence of steps, which sequences and transforms, develops and endures.
The work of the entire dance group is also amazing, which is at its best in no-no . The dancers bring out both passion and pain, and they work seamlessly as a group.
Kvarnström himself thinks that no-no is the only one of his old works that he wanted to remake. It’s good that he wanted to, because no-no is a wonderful piece, actual dance dance that works in all its areas.