Every time a Cuban troupe visits London, we wonder wide-eyed how the island produces so many great dancers. The oft-quoted explanation is that dance is part of Cuba’s soul and that in Castro’s Republic there’s been little else to do.
Whatever the reason, Cuba once again proved its lead over the rest of the world with the visit of Danza Contemporanea de Cuba. The contemporary troupe are exceptionally able, with technical skill and theatrical finesse. They are gorgeously good-looking and have a commitment that is more consistent than many European companies.
But while Cuba’s political isolation may have spurred its dancers, it has also hindered their artistic development. Next to their European counterparts, the Cubans look immature, as if they’ve missed key chunks of recent history and are hurriedly trying to catch up by inviting guest choreographers to update them.
This couldn’t be clearer than in the company’s double bill. First came Casi-Casa by Mats Ek. Asking the idiosyncratic Swedish choreographer to work in Cuba shows the country’s desire to modernise artistically, and the dancers performed his trademark quirks and choreographic non-sequiturs to physical perfection. However, with one or two exceptions, they seemed out of sync with his irony, and their natural exuberance meant they completely missed his melancholy.
Better use of their good humour was made by home-grown choreographer George Cespedes. Mambo 3XXI is a large work for 21 dancers who start in rigid dance formation only to break away into individual styles. While still in the artistic kindergarten, the piece was joyous and affecting, and reminded you of the multitude of classy, charismatic dancers tumbling out of Cuba. It could also be hinting at the country’s desire to grow up artistically and move on from old forms. Even better things will come when Cuba does that.
Danza Contemporanea De Cuba
Sadler's Wells
EC1
