It has been many years since I last visited Jazz Cafe in Camden. In recent years, I tend to go to ‘proper’ concerts at the Barbican and South Bank where I would sit quite still for hours. I think I have almost forgotten the joy of standing (and dancing) at a concert. Yet in November, I went to Jazz Cafe twice to see the Japanese folk band Minyo Crusaders, and Algerian Berber singer and guitarist Souad Massi.
I have not heard of Minyo Crusaders before, but I was intrigued when I found out that they rework traditional Japanese folk songs (minyo) with Latin, African and Caribbean rhythms to create inventive music. The band launched their debut album “Echoes of Japan” in 2017 (and reissued in 2019) and has since gain fans from around the world.
The 10-piece group was co-founded by Katsumi Tanaka and Freddie Tsukamoto, with the goal of reviving minyō as a ‘music for the people’. There is a retro feel to the band, but at the same time, it also feels refreshing and unique.
The history of minyō can be traced back centuries and it has been passed down for generations in villages and rural communities. Often accompanied by dancing, minyō usually portrays a local story or scenery, and it is played during neighborhood festivals and other communal gatherings. By experimenting and fusing with Latin, jazz and other forms of contemporary music, Minyo Crusaders has successfully revived ‘old-fashioned’ minyō into something cool and distinctive.
Honestly, I have not had so much fun at a concert for ages. The atmosphere was lively and vivacious, and the audience clearly loved the catchy tunes. Everyone was dancing away, and none of us wanted the night to end. I highly recommend seeing them live, because they are fantastic on stage, and you are likely to love them more after the concert.
Less than 2 weeks later, I returned to Jazz cafe to see Algerian Berber singer, songwriter and guitarist Souad Massi. Souad has been active since the late 80s, and regularly performs in the UK (since she resides in Paris). I have been to her concert at the Barbican a few years ago, but compare to the music hall at Barbican, the smaller and more intimate setting at Jazz Cafe enables the audience to get closer to the stage and performers. Thus, the experience was more memorable and compelling. Distance, in this case, matters.
Like Minyo Crusaders, Souad Massi likes to incorporate different genres into her music, including rock, country, fado, oriental, and Algerian folk… meanwhile, she also sings in Arabic, French, English and Berber – she truly is a world music artist. Often, the lyrics of Souad’s songs contain political messages, which resulted in her fleeing Algeria to Paris when the political messages of her band Atakor attracted death threats.
At Jazz cafe, Souad performed songs from her 6th and newest album Oumniya, featuring themes on Algeria, politics, love, freedom and emancipation – topics that matter to her and many others. As much as I like listening to Souad on CD or Spotify, it still lacks the impact of her live performances, accompanied by her brilliant band.
After the two fantastic concerts, I can’t wait to return to Jazz Cafe again for more music from different parts of the world.
Here is a short clip of the concert recorded by Julian Evenden.
Anoushka Shankar performing live for the 1928 Indian silent film – Shiraz: A romance of Indian at the Barbican
I saw 8 engrossing films and documentaries in total at the Raindance and BFI film festivals this year, and I feel that the overall standard of the films I saw this year is exceptionally high. Although I chose mostly documentaries, the few feature films I saw also deal with social and political issues that are important today. These are not big budget films, but they reflect more of what is happening in the world today than the big budget and rather unrealistic Hollywood films. Some of these films are grim and disturbing like “Venerable W”, but they are pertinent and they reveal in-depth stories that are often omitted from the news.
“The receptionist” is a low-budget drama based on a true event and it is directed by London-based Taiwanese director Jenny Lu. The film was shot mostly indoor – an illegal massage parlour where young Asian women work as prostitutes to support themselves and their families. It is depressing and realistic, but slightly too long. The acting from the almost-all-female cast is strong, except for the lead, whose face is not very expressive, and her inconsistent performance is a let down compare to the rest of the cast.
The film addresses issues of sex trafficking, exploitation, immigration, loss of innocence, and loneliness. Even though we might be aware of these issues, yet few of us are powerless to stop it, which makes it more saddening and bleak.
“The Receptionist” directed by Jenny Lu
Renown celebrity photographer Michael O’Neill started practising yoga after being told by doctors that he could never use his arm again. Not only did he managed to use yoga to fix his arm, he also became fascinated by this ancient practice. He spent 10 years photographing yoga masters and gurus for his book “On Yoga: The Architecture of Peace”. This documentary is based on the book, with Michael interviewing yogis, yoga practitioners, and spiritual teachers on life and death. I found some of the contents of these interviews very profound and inspiring. Perhaps it is time for people in the West to understand that there is no separation between the mind and the body – both are the same thing. And the practice of yoga is one of the many methods that can help us to reach our full potential and develop higher consciousness. This is a beautiful and poignant film.
“ON YOGA The Architecture of Peace” directed by Heitor Dhalia
What would you do if you discovered that your favourite aunt used to work as a secret agent for a dictator? Worse still, an agent who tortured innocent people and ultimately caused their deaths. “Adriana’s Pact” is a Chilean documentary made by Lissette Orozco, who initially embarked on this project hoping to prove her aunt’s innocence. After years of investigating, interviewing and filming, Lissette had to confront her worst fears – that her aunt might not be innocent after all. This first documentary by the young film maker is courageous and powerful. Sometimes life can be incredibly cruel, but it is also through the tough times that we find our true selves, even though we have to pay a high price for it.
“Adriana´s Pact” a documentary by Lissette Orozco
I have been practicing mediation and studying Buddhism (Soto zen for the last few years) for almost a decade now, yet sometimes I still feel reluctant to call myself a ‘Buddhist’. I felt quite disillusioned after spending 6 months going to a ‘cult-like’ Buddhist group, but meeting my current teacher changed everything. Buddhism is not a dogma, yet it hasn’t stopped different groups or leaders from turning it into a dogmatic practice. As in all religions, problems arise when people misinterpret the teachings and twist the meanings to suit their hidden agendas. And now, Buddhism’s non-violent reputation has been tainted by what is happening in Myanmar thanks to the Buddhist monk Ashin Wirathu.
This timely and disturbing documentary by Barbet Schroeder is the last of his “Trilogy of Evil” series. It is shocking to see how one monk could incite some much racial hatred towards the Muslims in his country. It also shows that Buddhism is not exempt from violence, brainwashing, and the craving and abuse of power.
Unfortunately, the West had projected too much of their hopes onto Aung San Suu Kyi (who has little real political power) and now they are bitterly disappointed and are lining up to condemn her. I think the political situation is more complex than we could comprehend, and I don’t think she has the power to end this horrific atrocity.
Myanmar is a beautiful country and yet it has endured so much political unrest throughout its history. Is this its fate? Suddenly, I remember our friendly vegetarian young Buddhist driver from Mandalay telling us in broken English that he dislikes Muslims because they are not like Buddhists. Watching the film gave me the chills, while the words of the driver echoed quietly in my mind.
“Venerable W” – a documentary directed by Barbet Schroeder
I have always been fascinated by Iranian films, especially films by the late Abbas Kiarostami, Jafar Panahi, Mohsen Makhmalbaaf, andAsghar Farhadi. And I would love to watch some oldies from the pre-revolutionary period.
“Israfil” is the third feature by the female writer and director Ida Panahandeh. It focuses on the lives of two women and how they are intertwined through a man they are/were involved with. The film revolves around grief, loneliness, family responsibilities, loss, and love. It is particularly interesting to see an Iranian film directed by a female director as it is not very common in Iran. Without consciously aware of it, 50% of the films I picked were written and directed by female directors. I didn’t choose them for this reason, but it appears that women are quietly making their footprints in the global film-making world, which I think is very encouraging.
“Israfil” – a film directed by Ida Panahandeh
Chinese cinema has evolved a lot over the last few decades, and this subdued, understated and eloquent film is quite distinct from other contemporary Chinese films. It is the second feature by female writer/director/producer Vivian Qu, and it focuses on two teenage protagonists, who both delivered convincing performances.
I saw the powerful Chinese documentary last year – “Hooligan Sparrow” (I then wrote a blog entry here) – and this film address the same issue: government officials sexually assaulting children and using bribery to cover their crimes. The timing of the film is apt, as it was shown during the week when Harvey Weinstein’s sex scandal broke out. It turns out that Hollywood is not so different from the Chinese officials depicted in this film.
I think the laidback and dreamy seaside setting works well in this film, as it acts as a sharp contrast to the dark subject matter. Yet the most devastating aspect is that the film is based on true events, and there are countless of child victims and voiceless families in China that would never see justice being served. Whether you live in a capitalist or communist society, it is money and power that talk. End of story.
“Angels wear white” – a film directed by Vivian Qu
“Becoming who I was” is my favourite film at the two festivals. It is a simple story/ documentary of a young Buddhist boy (who claims to be a reincarnated rinpoche from Tibet in his previous life) and his relationship with his godfather/teacher/guardian. It took South Korean directors/producer/cinematographer, Chang-Yong Moon and Jin Jeon, 8 years to shoot the film. The result is a stunning, touching and authentic film. The love between the boy and his teacher is palpable and moving, and I could see both men and women next to and in front of me wiping off their tears at the end. The ending is heart-breaking and yet very positive. Since there is no ‘acting’ involved, it makes the film more endearing. The young rinpoche is cute, smart, playful, and a delight to watch. While I watched the children playing in the snow, I realised that these children are more innocent and happier than the ones living in the wealthy first world countries who are surrounded by materialistic things. If you don’t believe the saying: “money can’t buy you happiness”, then I urge you to watch this film.
“Becoming Who I Was” – a documentary directed by Chang-Yong Moon and Jin Jeon
Last but not least was the special archive gala screening of the Indian silent film “Shiraz: A romance of India” (1928) at the Barbican, with live film score by Anoushka Shankar and her team of musicians. The film was painstakingly restored to its full glory by the BFI restoration team, and I think the set designs and cinematography are exquisite. The Anglo/German/Indian production is unlike the Bollywood films we see today, and it was further elevated by the mesmerising East-meets-West music.
Do Londoners ever get tired of ‘immersive’ shows? There are immersive theatres, exhibitions, cinemas and installations… the list goes on. If you are bored of the traditional forms of entertainment, then these multi-sensory performances are likely to stimulate your senses in every possible way.
Last week, I attended an immersive concert performed by the London Contemporary Orchestra at the Roundhouse as part of a series of Curtain Call Live performances. The 360° installation, Curtain Call designed by renowned designer/architect/artist, Ron Arad was first unveiled in 2011, and it was reinstalled this August to celebrate the 50th anniversary of the venue.
The floor-to-ceiling artwork/design made of 5,600 silicon rods suspended from an 18 metre diameter ring provided a canvas for films, live performance and audience interaction. Audiences could walk around, in and out of the curtain during the performances while enjoying the projected visuals from different angles.
I have never been to a LCO concert before, so I was quite curious about this experimental orchestra which started in 2008. The five songs performed on the night were: John Tavener’s ‘Svyati’, CHAINES’s ‘Down’, Morton Feldman’s ‘Rothko Chapel’, Mica Levi’s ‘You belong to me’, and Yoko Ono‘s ‘Sky Piece to Jesus Christ’ They were accompanied by bespoke visuals from Nicol Vizioli, UniversalAssemblyUnit, Ioana Sisea, Pavel Samokhvalov and Hannah Perry.
The mesmerising visuals and unconventional music performance worked very well, but it was the casual and laid back attitude of the concert that broke the mould. Although not every song was my cup of tea, I enjoyed the overall experience, and the highlight for us was at the end when the musicians on stage were bandaged together by other orchestra members until they could no longer play their instruments anymore. I have never seen anything like it before at any concert, and it was certainly a fun and bizarre way to end the show!
Ron Arad’s other installation Spyre was also on display at the Royal Academy of Arts’ courtyard, as part of the Summer exhibition. The 18 metre tall corten steel moving cone, containing motors, cogs, and slew-rings. Each segment moves at a different speed, ensuring that the sculpture’s unpredictable acrobatic postures are never repeated. Spyre has an eye at its tip containing a camera which will film its surroundings constantly.
Amidst the Brexit storm, a Japanese company of 25 performers brought chaos and frenzy to the Pit at the Barbican; nonetheless it was still more predictable and endurable than the political turmoil that was unfolding during the week.
Part of LIFT Festival 2016, the sold out 45-minute show Miss Revolutionary Idol Berserker pays tribute to the Japanese subculture – “otagei” (オタ芸) or “wotagei” (ヲタ芸) – the geeky dance routines performed by superfans to their Japanese pop idols.
Founded by Tokyo-based artist Toco Nikaido, the show is neither theatre nor pop concert; though it is certainly a stimulating form of entertainment that enhances the senses.
Before the show, we were warned about the noise level and water guns, and so we were given rain ponchos and ear plugs as our ‘protections’. Once inside the theatre, it was interesting to see how the entire space – walls and seats – were all covered in plastic sheets!
Aside from the introduction at the beginning, I can’t explain what really went on in the following 40 minutes. I saw the energetic performers danced, sang (in Japanese), jumped, clapped, sprayed water and threw objects at the audience, and ran around urging the audience to join in. It is mad, anarchistic, bewildering, and overwhelming. There is no narrative to the piece, and you are supposed to immerse yourself in the commotion and go with the ride.
As much as I enjoyed the show, I felt that it could have been crazier! Something was lacking for me, and I can’t even pinpoint what it is. However, I appreciated the effort of the performers, especially when they lined up in the corridor to greet us individually as we left the theatre.
As I mentioned, the show is not intellectual, it is a show where you can unwind and act silly, so what more can you ask for when the world outside is even more chaotic than inside the theatre?
Although I have heard a lot about the biannual Hyper Japan festival, a celebration of the Japanese culture, music, food and entertainment, I have never visited this event before. This year, after spending one year learning Japanese, I made friends with a group of people who are interested in the Japanese culture. One of them plays the shamisen (a traditional Japanese three-stringed lute) and performs with the SOAS Min’yo (Japanese folk songs) group, and we were invited to see their performance at the festival. At £17, I thought the ticket was fairly pricey, but I was also curious to see what all the fuss was about.
The venue moved from Earls Court to the bigger O2 showcasing a line-up of musical performers from Japan, in addition to several zones dedicated to the popular gaming and anime titles, Japanese goods (including books, ‘kawaii’ stationery, traditional homeware and fashion accessories etc), as well as Japanese food and drinks.
Upon arrival, I was surprised to find a long queue outside of the venue, it was lucky that we had bought the tickets online beforehand. As expected, the venue was packed esp. in the food court, so we simply picked the shortest queue as I was quite hungry by then (since it took us at least 20 minutes to get from the entrance to the food court).
Walking around, my friends and I were astounded by the prices of the goods at the festival, i.e. a bar of matcha Kit Kat was £5 and 10 onigiri (rice balls with seaweed) was £29! But at the same time, it dawned on me that the popularity of the festival is not so much to do with the food or shopping, it’s all about COSPLAY!
I never realised that the subculture of cosplay is so popular in the UK, and I was utterly dazzled by the idiosyncratic and creative costumes and props seen at the event. I only wished that I had taken more photographs of them. The festival was more like a showcase of cosplayers, it was such an eye-opening experience.
Top & 2nd left: SOAS MinYo group
After seeing our friend’s folk music and dancing performance, a few of us went to see the finale of the festival, which was the stage performance of Dempagumi.inc, a cult Japanese female idol group from Akihabara, Tokyo. I have never heard of this group before, but my friend who is into Japanese anime informed me that they are a popular Japanese subculture group that is gaining fan base globally.
I fail to find apt words to describe how I felt during the 20 minutes of their performance. What astonished me most was the behaviour of those grown up men there. There were Japanese and Caucasian men (aged between 25-55) shoving, jumping, yelling and perhaps even crying around us. The sight was so surreal that I was left rather speechless, and I was more distracted by them than the performers on stage. The power of these six squeaky-voiced young women is not to be underestimated. If you want to understand the popularity of this J-Pop group, I have included their music video here, but I can assure you that it is not as entertaining and as wacky as seeing them live. Enjoy!
Apart from a string of art fairs taking place in London last month, there was also the 2-week long Dance Umbrella festival, showcasing exceptional talents in the world of choreography from around the world.
At the festival, I saw some brilliant and ground-breaking dance performances produced by two contemporary dance companies. The first one was Spain’s Rocío Molina‘s ‘Bosque Ardora’ at the Barbican, and the second was China’s TAO Dance Theatre‘s ‘6&7’ at Sadlers Wells.
I have watched both traditional and contemporary flamenco dance shows before, but ‘Bosque Ardora’ is more like theatre and its star Rocío Molina is much than a flamenco dancer. She is unconventional, raw, precise and utterly mesmerising to watch; she is a natural performer.
The show is inspired by Greek mythology, and it revolves around hunting games set in a fantastical forest. Aside from Rocío, she is joined onstage by two excellent male dancers, and a group of musicians including a soulful flamenco vocalist José Ángel Carmona. Although the dancing and music is inspired by traditional flamenco, Rocío has broken many traditional boundaries and has created a show that is abstract, mysterious and surreal. It is never easy to reinterpret a traditional form of arts/dance and develope it into something new, but Rocío‘s ambitious piece proves that anything is possible as long as we use our imagination.
Rocio Molina – Bosque Ardora Teaser
It is hard to describe what I saw and experienced at ‘6 & 7‘ (click on the link to watch a clip) performed by the Chinese Tao dance theatre. I was completely captivated by the performance. The concept is simple, the execution is minimalist and repetitive, yet the impact is powerful in a meditative and hypnotic way.
The piece has no narrative, it is an exploration of body movements through repetition in a collective way. The Taoism concept of ‘yin and yang’ is presented in the two-part show. In the first part, 6 dancers are dressed in black moving on a dark and smoky stage accompanied by somber and intense music. At the beginning, audience can barely see them, except for the shadows and certain movements. Even when the smoke clears, it is still hard for the audience to distinguish the dancers’ gender! Yet in the second half, 7 dancers are dressed in white and the stage is illuminated brightly with no music but a humming sound from the dancers. What a sharp contrast! This conceptual piece is unlike anything that I have seen before and it is very exciting to see a new voice emerging from China.
The 6-year old company was founded by Chinese Choreographer Tao Ye when he was only 22. Some people might compare his work and style with the internationally acclaimed and more established Taiwanese Cloud Gate Dance Theatre founded by Lin Hwai-Min, but I feel that Tao has created his own unique language that is not only inventive but also very contemporary and universal.
Left: Rocío Molina’s ‘Bosque Ardora’ at the Barbican; Right: TAO Dance Theatre’s ‘6&7’ at Sadlers Wells
The spirit of the creativity continues after the festival ended. This week, British Indian dancer/ choreographer Akram Khan and Spanish flamenco dancer/ choreographer Israel Galván are performing their new collaboration ‘Torobaka‘ at Sadlers Wells.
The dance performance is a fusion of kathak and flamenco styles, and it takes place mostly within a red bullring ( inspired by the title – The bull/’toro’ and the cow/’vaca’) with Spanish and Indian musicians standing or sitting just outside of it. The two accomplished dancers’ styles are quite different but they are both compelling to watch. I especially enjoyed watching the two performers dancing/’competing’ with one another, the energy is intense but playful at the same time. I also applaud them for giving the stage to the musicians in one part of the show, though the show does feel somewhat disjointed and underdeveloped.
Overall, this experimental piece is an exploration of dance, movements and sounds, and the language that the two dancers has created is innovative and fascinating. Don’t miss the show if you want to see two world-class dancers bouncing ideas off each other on stage!
I have always had a fascination with the Sahara. I think what appeals to me is its mystery, beauty, danger, scale, harshness, unpredictability and ‘nothingness’. In my early 20s, I read Paul Bowles‘ novels, listened to his music and embarked on an adventure with a companion to the Sahara via Morocco. It was the first time I had ever seen a desert, but the two-hour camel ride into the desert and oasis was far from comfortable. We suffered from heat exhaustion (it was over 42 degrees), so our ‘romantic’ view of the desert was dashed instantly. Yet it was hard to forget the hospitality we received from the Tuareg/ ‘Blue People’ and the breath-taking view of the desert. Many years later, I returned to the Sahara again from the Tunisian side, it was a more pleasant journey, but the desert remained as mysterious as ever.
Sunset at Saraha
Last month I went to the second Sahara Soul concert at the Barbican centre. My memories of the desert returned, and I felt like I was back in time. The evening was a celebration of the desert, its people and music. Although I felt that the programme was slightly too long, the energy and passion of the musicians was felt by the audience and we didn’t need to understand the lyrics to appreciate the beautiful music. Unlike the traditional African or tribal music, the music being performed is influenced by other genres and styles, so it is contemporary and distinctive. Meanwhile, it also acts as a powerful weapon to draw people’s attention to the ongoing conflicts in Western Africa. The performers are not well-known in the UK, but they are talented and compelling, so I want to share their music here:
Nabil Baly Othmani is is the son of iconic Algerian Tuareg singer Othman Bali. Nabil is following in his footsteps, while at the same time carving out his own musical path. His music is a mix of flamenco, fuzzy rock, melancholy folk and even electronica, so it is unique and refreshing.
Nabil Baly Othmani – Menna (2014)
Steve Shehan & Nabil Othmani – Awalin (2009)
Tartit is a Tuareg band from the Timbuktu region of of Mali consists of five women and four men, all of whom are Tamasheq-speaking Tuareg. Tartit formed in 1992 in a refugee camp in Mauritania, where their music was a means of survival in the face of the economic, social and political difficulties in the region. Tartit’s compositions include traditional Tuareg ballads, dances and call-and-response songs. These instruments are accompanied by chants and percussive handclaps.
Tartit – Ichichilla
Born in the Sahrawi refugee camps in Algeria and now based in Barcelona, Aziza Brahim is the granddaughter of Al Khadra, the legendary ‘Sahrawi war poetess’. Playing hand drums and backed by a Spanish acoustic band which infuses flamenco and jazz to her Sahrawi rhythms, Aziza is using her music to make people aware of the conflict in her homeland.
Aziza Brahim – Julud (2014)
Young Mauritanian singer Noura Mint Seymali is the daughter of Dimi Mint Abba, the ‘Diva of the Desert’. Noura fuses ancient and modern Moorish influences, blending psychedelic guitars and transcendental grooves with impassioned, commanding vocals.
Flamenco is originated from the Romani people ( also known as Gitanos) living in Andalusia centuries ago, with influences from the Moors, the Jews, and the Mozarabic. Many foreigners do not realise that the essence of flamenco is not the dance itself, but rather the cante (song), one of the four components of flamenco, along with toque (playing the guitar), baile (dance) and Jaleo (handclapping, foot stomping and shouts etc). And out of the different cante styles, cante jondo (deep song) is considered to be the oldest and the most distinctive.
Not surprisingly, flamenco has become a ‘key attraction’ in the region. Flamenco performances take place daily from the streets to cafes, bars, museums and various music venues. Some are tourists traps and the standards may not be up to scratch, so it is important to get some recommendations beforehand.
As a fan of different dance forms and music styles, I frequently watch performances at Sadlers Wells and its Flamenco festival is one of my favourites because it always feature world-renowned flamenco dancers and musicians. Hence, I was keen to see an authentic show in the birthplace of flamenco.
Casa de la Guitarra in Seville
Luckily, I was not disappointed… while I was in Seville, I saw a passionate and mesmerising performance at Casa de la Guitarra, featuring an award-winning Cuban dancer, Yasaray Rodríguez, Manuel Romero (singer) andJavier Gómez (Guitarist). And I could tell by the audience’s reaction afterwards that every person in the room was touched by the heartfelt performance. The three performers all played equal parts, and non over-shadowed the other throughout the show.
The center was founded by the well-known flamenco guitarist José Luis Postigo from Seville whose career spans over 45 years and has made over 60 albums with famous flamenco artists. Although the venue is quite small, it houses an amazing flamenco guitar collections dating back to the 19th century, and it features an original 12th century archway (see above) which was part of a traditional Arab bath. This venue is truly one of the best in the city.
For other authentic performances, it is also worth checking out Seville’s working class district of Triana, the supposed birthplace of flamenco. Whether this is the truth or not is hard to tell but it is certainly the birthplace for many famous flamenco singers and musicians and they are commemorated by the ceramic tile plaques in the area.
Middle: Flamenco festival posters; Right: Lina’s exhibition at Seville Musuem of Arts and Traditions
Besides music venues, traditional flamenco fashion and accessories can be seen at Seville Musuem of Arts and Traditions. During my visit, I saw an exhibition of the well-known flamenco fashion designer, Marcelina Fernandez, also known as Lina. Since 1960, Lina has been creating flamboyant and exquisite flamenco ‘couture’ dresses and wedding gowns, and it was eye-opening as I did not realise that there was a couture market for flamenco fashion!
Top left & right: Plaques made of ceramic tiles in Triana commemorating flamenco dancers and musicians; Bottom: flamenco bars in Seville
Most cities in Andalusia also have a flamenco museum, but I think the best way to try and understand the music and dance style is to watch the performances or listen to the music and ‘feel’ the emotions and passion esp. for those of us who do not understand the lyrics. After all, these two elements are the common language shared between humans regardless of the race, age, gender and culture. Perhaps the music or dance style may evolve in the future, but hopefully, the flamenco spirit will live on.
When I was a teenager, I became obsessed with everything ‘French’ because of their immaculate taste in art, fashion, design, culinary and cinema. I indulged in French cinema ( esp. Eric Rohmer ) and even spent 7 months living in Paris trying to improve my English-accented French learned from school here. During the time in Paris, I spent hours at Virgin or FNAC listening to new released CDs by French and other artists from around the world.
Even though I grew up listening to British pop, I never shared the Brits’ sneering attitude towards French music. I think French music offers something completely different, often more poetic and diverse in style. As a teenager, I was introduced to Serge Gainsbourg, Françoise Hardy, Les Rita Mitsouko, then Mylène Farmer, Alain Souchon, Liane Foly, Patricia Kaas and Enzo Enzo etc ( these days, I listen a lot to the talented Camille).
As far as I can remember, the name Jane Birkin has always been associated with Serge Gainsbourg ( rather than the Hermès bag!) and their famous chanson, “Je t’aime… moi non plus“. I would read news about the iconic singer/ actress/ activist now and again, but not paying too much attention until I watched a documentary on her visit to Fukushima in Japan after the tsunami disaster. Jane visited the area and gave a charity concert singing in French. Although most of the local residents did not know who she was nor did they understand her songs, they were moved by the emotions in her voice and her sincerity. I was rather touched by her actions and singing, and so when I found out that she was in town performing for one night only at the Barbican, I was eager to see her perform live.
It is hard for me to describe the evening because it was beyond my expectations in many ways. Jane reinterpreted Serge Gainsbourg’s classic songs with an infusion of Arabic music performed by Djamel Benyelles, and his band Djam & Fam. The music and performance by the band was faultless, but it was Jane who took me by surprise, despite the fact that she doesn’t have the ‘best’ voice. However, her voice conveys a lot of emotions, and it is not necessary to understand all the lyrics to appreciate them. I also love her humour, sincerity, playfulness and sensitivity, it is hard to believe that she is already 66 years old, I wish I could be as cool when I reach that age ( I guess I have hope since we share the same zodiac sign)! The concert hall was almost full and the atmosphere was fantastic with the audiences giving her standing ovation at the end. She was also very touched by the overwhelming positive responses and claimed the evening to be “one of the happiest moments of her life”.
Do the French have good taste? No doubt about that, just look at the English actresses who made it in France apart besides Jane Birkin, there is also Charlotte Rampling and Kristin Scott Thomas, who are all intelligent, natural and aging gracefully ( without the need of botox and personal trainer). There are some people who are born effortlessly cool and there are fewer of them who would become icons.
What can I say? Life has always been rather unfair.
I have seen several shows choreographed by the experimental Moroccan-Flemish choreographer Sidi Larbi Cherkaoui‘s at Sadlers Wells before, including: Sutra ( a collaboration with Antony Gormley and a group of young Shaolin monks in 2008), Babel ( another collaboration with Gormley and Damien Jalet in 2010) and TeZukA ( on the works of the master of Japanese manga, Osamu Tezuka in 2011). Needless to say, I did not want to miss his new tango show Milonga, especially because of my own interest in the dance.
If Cherkaoui was a chef, he would probably be a ‘fusion’ one but with the creativity of someone like Heston Blumenthal ( as the term ‘fusion’ does not always bring excitement). But unlike his previous pieces, the dancing style in Milonga is more traditional than I expected, focusing more on the connection between the dancers rather than reinventing or fusing it with some other dance style. It is refreshing to see the incorporation of visual effects like shadow cutouts and video clips of the Streets in Buenos Aires ( even though it feels rather random), as well as some humour, which is often lacking in tango shows ( or even at most tango milongas). The live music is mostly nuevo with many pieces by Astor Piazzolla and some milonga for the lighthearted part. Having previously seen the more traditional tango shows by companies like Tango Fire or Tanguera which often showcase the techniques of the dancers but fail to update the stereotypical ( or cheesy) image of the dance, Cherkaoui‘s Milonga is certainly a step forward. The dancers are given the opportunity to showcase their personal dancing styles rather than being choreographed in a certain routine as a group, hence the contemporary style couple really stands out from the ensemble. However, I feel that the show is slightly restrained compare to the choreographer’s previous work; perhaps he was under pressure to not go too far, so this show feels like the beginning of something that could be developed or explored further.
My favourite part of the evening is the dynamic men trio, which ultimately reflects the dance’s essence and roots i.e. Argentinian tango started as a dance between two men. I have always enjoyed seeing men dancing tango with each other because of their powerful energy and spontaneity, and the chemistry between men is very different from a man/woman couple. I love watching Los Hermanos Macana, the two brothers who dance and perform together, I find them so inspiring! ( you can watch their jaw-dropping performances via their website above)
I rarely see men dancing with each other at milongas in London ( although there are more women dancing with each other these days) because of the rather reserved tango culture here. Having visited milongas in other cities, I find the London tango scene very uninspiring and so have taken a step back…
I hope that Cherkaoui‘s Milonga will change some people’s views on Argentinian tango, which is very different from the “Strictly come dancing” style! The show will end on 10th Nov, so go see it if you can.
