Review: Acosta Danza Yunior’s Next Generation –  nothing made my artistic soul soar

Contemporary dance is a fickle beast. When good, it can take one to unimaginable places; when bad, it can verge on torture.

Next Generation by Acosta Danza Yunior offered all the above, and some added confusion. The show material listed the works in different orders in different places – this is far from ideal.

Opening the quad bill was Fuga by Susana Pous. The work has a stylish minimal set and discusses migration. Confining the dancers to a small area, the material largely consists of group partnering in a yearning style. It didn’t really develop from here.

Two is an interesting work choreographed by Didy Veldman to Frates by Arvo Pärt. Maria del Carmen Pantoja and Ernesto Muñoz do very good work with what Veldman gives them, creating physical and emotional tension throughout. The couple exude equilibrium, and this is undoubtedly because it’s the work of a female choreographer. One feels equality throughout, and the work is much more interesting because of it. Veldman also understands the power of music correlation, so there’s lots to savour here.

After the interval, we see another successful piece – Capriccio by Kit Holder. Holder took inspiration from René Magritte’s ‘The Lovers’, which we see in literal form, but elsewhere the interest is piqued. Holder has a gift for creating lyrical, connected phrasing with original motifs, making it an interesting watch. The experience is further emboldened by the rich dancing of both Paul Brando and Alexander Arias.

Closing the programme was Mundo Interpretado by Juliano Nunes. The internet suggests Nunes is the choreographer du jour, however this piece didn’t work for me. It was well danced with rhythmical movement, but too much repetition, not enough structural sophistication and in serious need of some editing. I believe it was around 25 minutes long… but felt much longer in the moment. I hope to see another Nunes piece that takes me to a more worthwhile place.

All in all, this wasn’t a very inspiring night. The two middle pieces undoubtedly have value, and the dancers are doing good work, but nothing really made my artistic soul soar. Call me old-fashioned, but I still want dance to transcend, and this doesn’t always happen.

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.