danced by Kristen Mc Nally and Marcelino Sambe
Inspired by the refugee crisis, Flight Pattern resonates in the context of recent current events when, only this week, thirty nine bodies were found in a refrigerated trailer coming into this country. The last message sent by one of the victims saying her 'trip to a foreign land has failed' reinforces the double meaning of the title: these people are in limbo flying away from an abandoned homeland, whilst hopefully fleeing towards a better, more promising future. Birds may easily take flight, but human beings become dehumanised and are subjected to international quotas and people trafficking.
Set to the first movement of Gorecki's 3rd Symphony, the duet is danced against the musical backdrop of a soaring soprano voice, the beauty of which contrasts with the dark, twilight surroundings and grey, drab clothing of the dancers which may represent the life and identify which has been sucked from them.
The duet is a distraught depiction of loss. Opening with the swaying, pulsating movement of a mother cradling her baby, her low and hunched stance however, is a distortion of the happy, gentle rocking motion of a lullaby. The mother's face is confused and her deep low stride gets her nowhere as she recoils again in the protective cradling of her child. Half in and half out of the spotlight, she gradually stands, only to drop the cradled baby which now becomes a formless coat, abandoned on the ground. Hope is lost. Her horror is depicted by the wide desperate strides backwards where she is instantly supported in her fall by her partner. The deep, outstretched arms as she lunges towards her baby are countered by her partner who pulls her back in her agony. Moving backwards she collapses slightly out of the spotlight as the music reaches a crescendo.
The two move into a circling duet, their bodies intertwined and flowing in unison. She is repeatedly lifted into the air, where she is held aloft temporarily. The movement flows from high to low, constantly being dragged down to the ground by the weight of experience. The two seem to be in torment but are supporting each other. As they circle once again at 1.41, their arms show hard lines of tension and resistance and her body is tense and curled; this is not a flowing, free, outstretched movement. As the soloist's voice takes flight, they move smoothly into another circular motion but with her eyes covered by her partner. Is he masking her from the realities in front of her? Is life too much to bear? Her body is slumped limply in his arms with her eyes still covered as the music reaches a pause.
The tempo of their movements then changes. They appear to fight with rapid movement, yet still maintain contact at all times. A contrast in speed is immediately achieved as she is slowly raised to the side, legs awide, again supported by his body and leg. Their fight continues with running motion across the stage. She appears to be on the attack, pushing his head down and the two circling in unison. The fight is not maintained and she is once again circled round by her partner, slightly limply, as if there is no fight left in her. This transitions into a more loving embrace at 2.14 and they repeat their circular rotation, this time with more outstretched limbs.
They finally move across the stage to kneel on the floor. As they stand she presents the coat to him, with confusion on her face. Is she presenting their dead baby? He walks backwards, moving away from the horror that she brings to him.
The duet is a powerful depiction of loss, sadness and mutual suffering. Set against the blackened background and fragile notes of the soloist, they dance in a dark, dreamlike state. As an observer you understand that they are in torment but the power of their movements and the slight alteration of their repeated circular rotation, from hunched, to limp, to more open and free leaves us hoping that they may somehow make it through this crisis and take flight.
This is a brilliant critical analysis of ‘Flight Pattern’. Your response is detailed and well thought out, giving the reader a clear and descriptive review of the piece. For further development, using other resources, consider what other ideas may have been discussed (please reference). In your opinion, was the piece successful? Do you think the purpose of the piece came across successfully as an audience? Please link the video within the post.
ReplyDeleteAlthough the primary aim of Flight Pattern is to portray the plight of refugees, the piece can also be seen as a commentary on the personal and mental impact of loss and displacement. Kristen McNally dances with such powerful emotion that we are clearly worried about her mental health. She has suffered great loss – perhaps from the loss of a child.
DeleteI have looked briefly at articles associated with the impact of war on communities and find the comment, ‘Death as the result of wars is simply the ‘tip of the iceberg’’ (Srinivasa Murthy, R. and Lakshminarayana, R. 2006) to be something which is clearly expressed in this piece.
To me, the piece is very successful. Through a combination of artistry and choreography, it promotes thought and concern for those who have been forced away from their home and highlights that people hide mental scars which may never heal.
Reference:
Srinivasa Murthy, R. and Lakshminarayana, R. 2006 Mental Health Consequences of War: a brief review of research findings (accessed 1 December 2019) Availabel from: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1472271/