Review: no-no

no-no HYPNOTIZES THE VIEWER

After his tenure as director of Dansens HUS in Stockholm, Kenneth Kvarnström returns to the stage with an old work, but powerfully. The no-no has been carefully dusted, and Helsinki Dance Company makes the work glow and sparkle. HDC’s ten dancers do extremely precise and internalized dance work, which makes the viewer feel more breathless than the dancers.

Kenneth Kvarnström was the director of the City Theatre’s Dance Company in 1996-98. 12 years ago, no-no was his first choreography for the company.

Kvarnström says that no-no is the only one of his old works that he wanted to return to. The work of seven dancers grew to the length of ten dancers, but otherwise retained its original character. Wednesday’s premiere was welcomed by the audience.

No-no starts slowly and calmly. The dim lighting envelops the three dancers, who are softly swirling in each other. A figure in a tall top hat walks on a platform that circles the stage.

The work seems to gradually increase everything: the number of dancers, voice, rhythm, tempo and light. Just when death reaches its peak and I think the work is over, it explodes at full speed with the power of African drum music.

For a work of more than an hour, no-n does not feel prolonged for a moment. Although it repeats and varies a lot of the same movement material, it remains surprising and interesting thanks to the grouping of the dancers and spatial mobility. The movement language is clear and perhaps there are typical throws, lifts and pair work typical of the 90s, but HDC’s dancers clearly bring the technique to the present day.

The group is remarkably united. The fluidity and softness of the movements get a peppery spice from the accents and rhythmic changes associated with it. Trust has been found by the time of the premiere. In lifts and throws, you dare to throw yourself and the catcher is found in the right place.