A Night of Movement and Meaning: Dance Festival Malta’s Third Evening Unfolds
The third evening of Dance Festival Malta unfolded with a dynamic programme, showcasing both local talent and international artistry. The prelude to the main event came from the local Moveo Dance Company with their work, ‘Be the Storm’. Performed in the vibrant setting of Freedom Square on the San Ġorġ Preca stairs, this piece featured seven dancers adorned in brightly coloured suits. ‘Be the Storm’ offered an insightful exploration of life in one’s twenties, aiming to capture its exhilarating freedom, transformative self
discovery, and raw, defining emotions. True to Moveo’s distinctive style, ample partner work was a prominent feature in this short yet captivating performance, which, despite perhaps not being their strongest work, still drew the audience’s full attention.
A Diverse Bill at the Manoel Theatre
The main lineup at the Manoel Theatre presented a mixed bill of works from choreographers based both locally and abroad. Kicking off the evening was a powerful performance choreographed by Douglas Comley. ‘Into the Light’, a Dance on Project, featured distinguished local and foreign dance artists embarking on a profound journey into the exploration of dance and the ageing body. Dressed entirely in black, the performers were scattered across the stark white dance carpet, creating a striking visual contrast. Their movements, initiated by the resonant sound of a standing bell, were imbued with a sensitivity that symbolised respect, honouring the dancers’ years of experience. The solemnity of the accompanying music, ‘A Winged Victory For The Sullen’, truly encapsulated the emotional depth of the work. The outpouring of applause from the audience was a clear testament to its impact, underscoring the importance of reinstating such initiatives in future festival editions.
From Classical Echoes to Raw Emotion
Following this moving piece, ŻfinMalta took the stage with ‘Somiglianza’. A cricket-like soundscape settled the audience’s murmurs as a dancer, partially covered by a robe, emerged downstage in a foetal position. Horse-like tongue clicks then propelled four dancers, clad in full swimming costumes, across the stage in an almost prance-like manner. The costumes and choreography strikingly evoked images of Olympic artistic swimming. Choreographers Mattia Russo & Antonio De Rosa (Kor’sia) expertly transported the audience into a contemporary interpretation of Nijinsky’s ‘L’après-midi d’un faune’. Drawing on the original ballet’s themes of sensuality and sexual awakening, they crafted a modern take through the use of lighting and fluid, almost sensual movement. This proved to be a fantastic and memorable addition to the company’s repertoire.
A brief technical interlude saw the stage transformed from white to black, setting the scene for Greek dancers Danae and Dionysis in ‘Fárisa’. Very faint music accompanied their entrance; one dancer, dressed in white and grey, walked crouched over, while the other, in black, was seated atop them. Through a series of exquisitely curated embraces, the dancers masterfully showcased the raw emotion that permeated the piece. The duo’s sharp yet gentle, embrace-driven movement created moments of pure connection. As the piece neared its end, the dancers returned to their starting positions, yet with a new vulnerability in their movements that metamorphosed into a series of turns, shifting the dancer from front to back. A truly powerful ending that highlighted the work’s intent of seeking connection.
Introspection, Motion, and Social Commentary
A solo by French choreographer and performer Clémence Juglet, ‘I need to’, immediately followed the duet, drawing the audience into the artist’s undeniable stage presence. As she walked to mid-stage, a trembling effect rippled through her body, intermittently breaking into rhythmic, powerful movements. The dancer truly embraced the work’s core intent, described as a race against time. The piece created the distinct impression of a wind-up toy in perpetual motion, an apt metaphor for the artist’s masterful portrayal of the constant, exhausting drive to achieve an elusive “best moment.”
The evening then culminated with a dance theatre piece, ‘Are you Guilty’ by South Korean Company ‘Think Outside the Box’ (TOB), choreographed by Min Kim. A round table and chair, centrally placed, set the scene for two figures in a still frame – one seated, arms raised and mouth agape as if mid-scream, the other leaning against the table. The piece that followed saw these two dancers exploring the bystander effect, the social phenomenon where the presence of others reduces the likelihood of intervention in an emergency. The table and chair served not only as props but almost as extensions of the dancers, producing sounds that underscored the entire performance. Distinct from the other works presented that evening, Min Kim’s piece captivated the audience, eliciting a series of giggles and ‘oohs’. Despite its unique approach, it proved an outstanding close to a series of dynamically powerful works.
Connecting Through Conversation
The evening concluded with a curated ‘Conversation with the Artists’ session, led by Dr. Paula Guzzanti. This provided the audience with a rare and valuable opportunity to gain deeper insights into the presented works, offering a glimpse into the creative process behind the scenes. Such opportunities add a beautiful rawness to an immaculately curated evening.
In an island bustling with events, it is initiatives like Dance Festival Malta that consistently succeed in bringing a community together. Old friends and former colleagues reunited, united by a shared passion. Dance Festival Malta is superbly curated, making it an event that dance enthusiasts, artists, and practitioners should undoubtedly mark in their diaries for future editions.
