Guerilla
Cullberg Renan Martins & Olof Dreijer
March 6 -8, Kulturhuset Stadsteatern
Cullberg, Guerilla. Photo: Carl Thorborg
When I leave the gym, following a "labor intense" workout, to rush to what is Cullberg's new home arena; Kulturhuset, for its first premiere there ("Guerilla"), I'm not entirely expecting to join in my second cardio session, albeit a dance-driven one. But that is effectively what happens. Some things prove hors d'expectation and hors d'habitude this way, with this work signed Renan Martins and musician pioneer Olof Dreijer. Yes, expected things happen as well. This is a piece that is designed to per default mode be euphoric at times, and cathartic in light of the times. Is it? Yes, v e r y much so. In its best moments. The music that amplifies it all, surprisingly or unsurprisingly very much sounds like a Dreijer making. And that (for me) can only be a good thing. After the far more pretentious "Exposure" by Alexandra Bachzetsis that was the choreographic equivalent of Jordan Peele's "Us" of wanting to be so much at once, "Guerilla" is fairly unpretentious, except for some "precious" moments that belong to the few things that don't work quite as well, at least not at tonight's premiere. But I do love it. I love that I haven't had this much fun dancing since going all-out dancehall style at Taylor Swift's eras gig (both being a cheer captain and on the bleachers).
Yes, dancing because that's what "Guerilla" is. This neon-framed roller rink-alluding space quickly turns into a "democratic" dance stage that dissolves the boundaries between Cullberg and the audience. It's as fun to watch it happening as it is busting out my best moves. And this is a feat, folks. Getting a stiff, non-intoxicated cultural Stockholm audience to not just be head bopping but really give into the music, across ages and bodies, takes a lot of shrewd designing. Music is key, as is a generous and kindly inviting environment. Let's remember that Queen Bey was not at all happy with our collective "performance" at her Renaissance tour. We're not that lot. But tonight we were that lot. "Guerilla" takes its time to build, but unlike the formulaic choice of some choreographers of letting performers confine their movement to monotonous repetition for far too long, "Guerilla" involves us in its acceleration phase. We are part of the buildup. There's hugs for all. A part of me wishes that "Guerilla" would have opened merely a few weeks later for my partner to also get to experience it while on holiday here. As a former dancer of a similar company as Cullberg, I imagine he would have enjoyed it.
Cullberg, Guerilla. Photo: Carl Thorborg
Big sweeping circular motions with one arm in the air at a time, while leeping between feet, to ignite intensity and energy, appear a cornerstone in the choreography Cullberg carries out when the audience finds its seat on the sidelines. Like the already mentioned "Exposure", "Guerilla" has its theatrical and variety show features. When the audience members on voluntary basis are asked to join the troupe to share descriptions of people they hold dear, it's stretching things a bit too far. This however, does not come down to the Cullberg member who hosts this part, Harrison Elliot, underperforming; on the contrary does well what he is given, but this part could easily have been left at the dramaturgical board. At a certain point there is an intermission of sorts that is played out before the audience which entails light costume alterations and the crew having their well-earnt water break. This "self-aware" part which holds its equivalent in cinema with actors speaking directly to the audience per 60's French Novelle Vague is something I greatly enjoy in the moment. It's very empathetic and gives a moment to appreciate the craft and athleticism that is not to be taken lightly. Cullberg is Cullberg for a reason, and it should be known and recognized. Another part that becomes personal to me is when the love and harmony disrupts into battleground of everyone either fending someone off, helping someone else fend someone off or going into attack mode. As it culminates its very much Royal Rumble in the wrestling ring, everyone vs everyone. It's very well-choreographed and for a moment breathtaking (pun intended). It actually begins with the two voluntary audience members being pulled apart from each others and barriers of people coming in-between and having to seemingly find their way back in light of the obstacles. For someone who's experiencing a long-distance relationship in a world threatened by new borders and border control, the feeling of having to defend your relationship and if necessary going to attack is very much felt in this moment.
Cullberg, Guerilla. Photo: Carl Thorborg
On a flip side, and it will sound petty, but it in a troupe like Cullberg with an interest of retaining a sense of individual personalities, varying charisma will be inevitable, with a few likely unintentionally rising to the occasion as the Michael Jordan on the trading card of the team, seriously commanding the gaze, while others are the crucial supporting foundation without which the center does not hold. The costume department by Suelem de Oliveira da Silva, a former dancer in the company, deserves its own mention. It's such an integrated part of "Guerilla" that I can't quite imagine what it would be perceived like without her artistic output. Everything worn on the performers nourishes my fashion sense. Everything looks ready to haul down a runway. The fusion of sporty jersies and gender-bending skirts à la Happy Days and Fonzie on the male performers is no less than spectacular.
I'm aware "Guerilla" will play again as part of this year's STHLM DANCE festival in May. For anyone who will miss out during this run of it; a second chance awaits. I'm not missing mine, and neither should anyone else.
Ashik Zaman
Created in collaboration with the dancers: Anand Bolder, Thamiris Carvalho, Harrison Elliott, Shai Faran, Anna Fitoussi, Ida Inxi Holmlund, Girish Kumar Rachappa, Andrea Muelas Blanco, Camille Prieux, Noam Segal, Lilian Steiner, Vincent Van der Plas, Johanna Willig-Rosenstein, Mohamed Y. Shika and the apprentices Ida Hebsgaard Mogensen, Ida Osten
Music: Olof Dreijer
Costume: Suelem de Oliveira da Silva
Light Design: Christoffer Lloyd
Dramaturgy: Ana Rocha
Live DJ: Maele ”CHEZA” Sabuni
Photo performance photos by Carl Thorborg. Courtesy of Cullberg.