By Laura Murton
It should come as no surprise that the Iceland Dance Company recently chose Ottawa as one of two cities to hit on it’s very first tour to North America.
Ottawa is second only to New York City in its appreciation of international dance, says Gerald Morris, marketing and media relations for the dance department at the NAC.
The Iceland Dance Company, founded in 1973, began as a classical ballet company.
But since 1996, the company has adopted an exclusively modern repertoire, which is more free-flowing, expressive and individualistic as opposed to stiffly structured traditional ballet.
“I couldn’t define an Icelandic style of dance because they are so open to dances from all over the world. Modern dance has a language that’s interpreted by people internationally,” says Morris.
Morris says the variation from traditional dancing will not deter Ottawa’s dance audience. On the contrary, Ottawa’s audience is known for its enthusiasm for edgy, new material.
“We got an absolute rave reaction from the audience, screaming, yelling.”says Morris. “Ottawa’s dance audience is very sophisticated, and young people especially are interested.”
Dancer Kristin Holinsky is a perfect example. At 19, she has been studying modern dance since 1996 at Dance Educators on Rideau Street.
Holinsky has mirrored the Iceland Dance Company in her own steps while learning to dance. When she began dancing, Holinsky worked specifically at classical ballet.
However, she says her exposure to international dance has encouraged her to expand her horizons. Just like her Icelandic counterparts, Holinsky now exclusively studies modern dance.
Holinsky makes a point of attending all the NAC’s international dance performances.
“Exposure to international dance is really positive for me.” says Holinsky. “Just seeing what’s out there in the world pushes my imagination about what I can do and has expanded my ideas and showed me how thrilling dancing can be.”
The company uses both recorded and live music in the form of a reverberating saxophone, and props like water and shadows to express themselves.
The first piece, “NPK,” is set to a heavy rhythmic thud sampled from a fertilizer factory. The electronic music provides a distinctly modern counterpoint to a piece in which the dancers convey a timeless, mythical atmosphere.
Morris explains that the 10 dancers with the company don’t think theatrical presentation, expressing individuality on stage, is a sin – something many classical dancers might think, since theatrics can deviate from the structure and poise of classical ballet.
“The dancers have a really sexy and energetic presence on stage, they are open to international influences and they are not closed-minded,” says Morris.
For this tour, the Iceland Dance Company chose to incorporate international choreographers to create even more flare to their performance. Portugal’s Rui Horta choreographed one of the pieces the company performs, “Pocket Ocean.”
The final piece employs a shallow trough of water on a mirrored surface to great effect. At one point, the water is reflected against the wall, a dancer’s subtle gestures are magnified and transformed into a surreal shadow play.
Holinsky says the kind of modern dance expressed by the dancers is becoming more popular, even for people who don’t dance. And she’s excited about this transition.
“What’s attracting people is shocking, loud, in-your-face and over-the-edge daring. Classical ballet just isn’t going to cut it anymore,” says Holinsky.
— with files from Michael
Olson.