Over the past five years, Contempo Physical Dance, led by Marciano Silva dos Santos and Jenny Pennaz, has developed a unique Afro-Brazilian contemporary dance fusion. On Friday night at the O'Shaughnessy at St. Catherine University in St. Paul, the troupe continued to break new ground with the world premiere of "Cool Play" by choreographer Patrick Acogny.
Acogny, whose mother, Germaine, is known as the "mother of Senegalese dance," summons up street scenes and spontaneous parties in this absorbing new work featuring Contempo dancers Ashley Akpaka, Timothy Herian, Gemma Isaacson, Catlin Murphy, Elander Rosser and Dos Santos. His approach is based on West African movement, but with a fascinating international twist — influences ranging from the classical Indian dance form of Bharatanatyam to the vogue dance style born in Harlem ballrooms are present in the choreography.
In "Cool Play," all of the dancers have an opportunity to really let their individual spirits shine. They each make signature statements, playing with a single idiosyncratic gesture that spirals into bolder and more athletic movement set to Fabrice Bouillon-LaForest's evocative percussive score. Acogny uses solos and group work to build up the tension, and when the trios of men and women face off from across the stage their connection is electric.
Seeing familiar performers in a whole new light is one of the most exciting aspects a guest choreographer can bring to a company. Herian, wearing geeky glasses, reveals a playful side that accentuates his serious technical skills. Akpaka is seemingly set afire with confident strength, while Rosser shows off a more introspective and dramatic side. As a whole, Contempo's crew is a very good match for Acogny's talents. Here's hoping they have more collaborations set for the future.
The evening also includes "Batuque" (2013), a loving tribute to the samba from Dos Santos, a native of Brazil. It features soloist Leo da Paixão, who brings a light and subtle touch to the rhythmic vibe, setting the stage for Dos Santos' boundlessly energetic choreography contrasted against Ta-Coumba Tyrone Aiken's swirling visual design.
The dance is at its best when the performers make eye contact, generating friendly heat. Sometimes their spatial awareness of one another on stage is lost in the enthusiasm of the moment, but that sort of mistake is minor when the mood is so high-spirited.
Caroline Palmer is a Twin Cities dance critic.
