Review: Young Creatives showcase for fledgling dancemakers

Choreographic platforms are an initiative to be celebrated, and Young Creatives (part of One Dance UK “the national support organisation leading the way to a stronger, more vibrant, and more diverse dance sector. Whoever you are, however you move – we move for you”) has been doing the do for some 20 years, as confirmed by Sir Richard Alston at Saturday’s showcase matinée.

The initiative has found a second home, as part of Sadler’s Wells’ YFX; a two-week festival for young dancers by young dancers featuring school, youth and community groups from across the country.

Young Creatives is a two-year mentoring programme for dance makers aged 16-20, and the showcase featured nine works. Reviewing something like this isn’t easy, because those involved aren’t professional per se, but the performance is open to the public, taking place at Sadler’s Wells (Lilian Baylis Studio) and the programme has a very esteemed group of mentors…so in many ways, one can afford to expect a certain calibre of work.

Largely speaking the work was acceptable; however, only a few pieces showed true potential in relation to original voices and choreographic skill.

Somebody Else by Ellie S used dementia as its underpinning. And though a very difficult subject for many, its complexity allows for an interesting springboard. Ellie S featured episodic structuring and disorientating lighting to convey her points and it worked well.

Fracture by Anya R was a very promising duo. The movement language is full of quiet rage and precision, and the overall impact was a feminist call to arms. Young women with agency taking up their space.

Chaitanya by Aayush P featured the most promising group work. The four dancers communicated the power of unison before breaking off into duos and solo moments, and the Kathak movement language was detailed and well executed.

Gallery Of Her Rising Rhythms by Hadija B H is a mature work that hasn’t quite found its identity yet. The movement style includes both intricate detail and broad, sweeping phrases, and the use of three pools of light also shows production intelligence. Interesting.

Likewise, Matriline by Rosa B S. This piece found its power in subtlety, which is a rarity nowadays, and also managed to keep one engaged with the use of predominantly one movement dynamic. I’m also a fan of the deep, aquatic in style soundtrack.

Fortanach by Verity D was an original offering. Based on the folk creature ‘The Phooka’, Verity D has created a role that allows Indya Rose A to go to some wild places. Hissing, ready to pounce and covering vast space with ease, the movement is both interesting and refreshing, especially when performed by a young female dancer with no hesitation.

Young Creatives – Point of View Photography for One Dance UK – 4

Young Creatives – Point of View Photography for One Dance UK – 3

These six works spoke the most to my artistic tastes, and I’m sure others will have done the same to fellow audience members. As confirmed above, all the work was acceptable (in its own way), but I also feel we can afford to expect more.

As choreographic platforms go, Young Creatives is right up there, and the specific age bracket it deals with is probably the most important time for a young dance maker. With all this in mind, I hope the powers that be keep discussing the inclusive/rigour balance. It’s a difficult, sensitive subject matter but one of great importance.

Note: one male choreographer and two male dancers within the entire cohort suggests an additional conversation is needed, concerning catchment within the current OneDanceUK ecology.

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.