09/03/2016 - 10/03/2016
A contemporary dance duet performed by Jasmin Canuel and Leah Carrell, recent graduates of the Unitec Performing and Screen Arts Programme. This 45-minute work explores ideas of what it means to mould the self, or to be moulded by another. We also delve into the territory of what happens when we stop moulding and become mould.
We seek to challenge the audience to recognise phases of moulding and mould in their own lives.
This is an important development work for the artists as it is their first venture into the dance industry following their graduation from Unitec. As recent graduates we bring a fresh approach to contemporary dance, we are enthusiastic about choreography and performance, and as a duet we bring a dynamic performance to Dunedin audiences.
|DUNEDIN FRINGE FESTIVAL CLUB|
|20 PRINCES ST, DUNEDIN|
|TIMES||WED 9 MAR||8:00PM – 8:45PM|
|THU 10 MAR||8:00PM – 8:45PM|
|ALL AGES LICENSED|
|PRICE||$8.00 – $12.00|
Contemporary dance ,
Beautiful art that leaves you a little breathless.
Review by Hannah Molloy 11th Mar 2016
Another treat from the Dunedin Fringe Festival is Mo(u)ld, a new dance work choreographed and performed by Jasmin Canuel and Leah Carrell. A simple premise, about how we are moulded by, and mould others and our world, is translated into some lovely movement sequences.
Mo(u)ld feels fresh and original – I often find myself thinking I’ve seen a sequence of movement or a section of choreography before. I understand that the range of human movement is finite although the combinations of movements are infinite – but Mo(u)ld just seems to be new.
Canuel and Carrell seem a little nervous coming onto the stage in the Fringe Festival Club, which is set up cabaret style with a couple of rows of seats behind the tables. Any hint of nervousness simply vanishes as soon as their performance begins. Recent graduates, both women are very composed and look completely in their element on stage, aware of the space, the audience, each other and their own bodies. The forms Canuel and Carrell make with their bodies are graceful – there is a particularly beautiful sequence where Canuel has her hand laid gently over Carrell’s from behind, both supportive and directive of the shared movement. It is a surprisingly moving piece. Their movements are unhurried and bold, with every tiny detail of muscle and limb position carefully considered and presented for the audience’s appreciation.
The choreography is a beautiful balance between stillness, staccato sharpness and wild sweeping arcs across the stage. There is a story being told, an evolution from birth to death and the experiences in between but it isn’t intrusive or literal and it lets me enjoy my own interpretation of the dance. There are moments of comedy and pathos – Canuel as an arrogant bird of prey being cut down to size by Carrell’s disinterest in her preening begins as funny but becomes distressing as her ego becomes bound in her anxiety.
The two dancers move from solo to collaboration seamlessly and their timing, both with each other and with the music, is immaculate. There is coherence between the parts of the performance while each has its own mood and shape. The parts reflect each other without being repetitious or monotonous, giving a sense of flow and progression.
Canuel and Carrell seem delighted with their well-deserved applause and the stillness in the room as they leave and the clapping dies down I think is a tribute to a beautiful piece of dance. Sometimes a piece of art leaves you a little breathless.
(One small comment about the venue – the informality of most events at a festival club does seem to give people a licence to come late to a show. Several people came in late and it simply doesn’t show the respect for these artists that they deserve.)
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