Refusing to hide in the toilets, I gingerly walk around the packed auditorium of Sadlers Wells. It’s the first night of Tanztheater Wuppertal Pina Bausch’s ‘como musguito en la piedra, ay si, si, si.. (Like moss on a stone.
And practically everyone from the British Dance scene is here…
Only Pina could attract this kind of crowd. Even more so as this was the last piece she created before her tragic and premature death in June 2009.
Como…. was created in response to the companies travels around Chile in 2009, the memories of their adventure comes across clearly in the music, energies and ambiance of the piece.The women have power and sexuality similar to the coffee waitresses who frequent the South American Cafes.
The women dance for pleasure, love and life whilst the men perform their usual Bauschian masculine gallantry. Obviously this piece focuses on the man and woman relationship which Pina was so known for. But something feels different.
The costumes which always played a role for Pina, gave the movements/scenes a gorgeous flamboyant feel. It was an absurd Lynchian surreal feast. Lipsticks and smiles.
Pleasure can be taken from the simplest of gestures. Power and control can be seen in a lift of a hand.
The men were completely enamoured by the sumptuous dancing of the Latina goddesses.
Cracks etched on floor would sometimes open and close, deep fissures would slowly emerge. Perhaps highlighting the frailty of the passionate human heart?
This piece was a turning point I feel for Pina in many ways. The dancing took on a new form and the relationships between the dancers became light and jovial with many layers. Sub texts that were not as dark in colour and shade as her previous works.
When Pina left this world, so did a specific form of dance/dance making, which many artists have often failed to create.