Akram Khan:
DESH
Drama House
June 5, 2013
Tina Højlund Retires
Both guest Akram Khan and soloist Tina Højlund - in her final week - makes strong cases for character driven dance.
Alone on stage with a simple but effective scenography and a sound-mix, Akram Khan conquers the almost impossible task of telling the story of his home country Bangladesh with depht, feeling, humour and strong choreography.
The performance begins with a tiny tree growing in sand. When Khan sees it he celebrates before taking a big axe and tries to bring it down. What better image to illustrate the dilemma of poor countries like Bangladesh between growth and survival?
During the 80 minute one man show Khan introduce a supporting cast of an invisible child, a tele center worker (both on audio) and by bowing his bald head and presenting a rudimentary face painted on top he express his father and the mythical figure of a village cook. Later in the performance a story is told about the village cook working for the Pakistanies, who cut of his soles and asking if he can stand on his own two feet (a metaphor for the relationship between Bangladesh and Pakistan). Following this Khan illustrate the curse by dancing a solo mainly lying on his back trying to gravitate to standing. Touching and spot on.
Khan's performance show how strong a concept ballet can be if everything supports the concept and how great a performer he is.
A Modern Ballerina
The same week saw the final performances of company soloist and star Tina Højlund, who has reached the retirement age of 40. For most dancers a retirement of 40 is reasonable. Few dancers reaches that age without significant injuries, but every other season we see a dancer retire with their artistry and dance on top level. Last season we said goodbye to Jean Lucien Massot, dancing and acting better than ever.
Likewise Tina Højlund bows out on top and just after having created the strongest segment in Corpus: "We are not Waving - We are Drowning". Earlier this season she has impressed in roles as different as Carabosse, a shade soloist and the chaperone in "La Bayadere" and several other roles.
On Counterpoints
Tina Højlund was the only pupil who had advanced to dancer in her class, and the individuality has been her trademark in a career made of counterpoint roles. Højlund's has shined in as different roles like Kitri, Teresina, Myrtha and Juliet. She is an unconventional type who combines a strong classical technique, some of the best ballet legs in the company - according to Nikolaj Hübbe in a recent article, with a contemporary look and personality. Neither of which has kept her from being a first rate Bournonville dancer.
Tina Højlund has danced in most genres available and her Balanchine skills are as strong as her Petipa. She is probably the dancer of her generation that has made the strongest impact in modern dance. In particular her work with choreographer Tim Rushton is outstanding, but she has graced the modern Copenhagen scene as well in several productions, including modern versions based on Bournonville's "Napoli" and "La Sylphide". Her next assignment, for Tina Højlund are not yet ready to hang up her ballet shoes, will be in a ballet by modern choreographer Steen Korner for a season in TIVOLI.
Character Matters
Not only the hardship of waving goodbye to some of the companies best dancers, makes me wonder whether the RDB's employ character dancers could benefit from a make over. Since Flemming Ryberg retired the male wing of the group is not outstanding, and save Lis Jeppesen the female group are more elegant ladies than strong character actors. It seems unfathomable that there is no room for character dancers like Massot and Tina Højlund. Looking at the last seasons, the best character acting has been presented by members of the dancing teams rather than the character dancers. In "Kermesse in Bruges" Gitte Lindstrøm and Cedric Labrette together with Maria Bernholdt and Tina Højlund were the strongest mimes. Ad Morten Eggert who although listed as a soloist practically work as an outstanding- character dancers To keep the tradition growing it is necessary to use and develop the strongest character talent. The present group of character dancers have little left to try. Do not loose the strongest cards available in this so important and central part of the RDB tradition and future.
Photo by Costin Radu Copyright Royal Danish Ballet
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