Daily Dispatch

What’s hot at the greatest show in town

Japanese ensemble bend time and space in a South African first

- REVIEW MADELEINE CHAPUT madeleinec@dispatch.co.za

To create a production like

Voyager

required artistry — and a lot of it.

The hour-long dance piece is the first contributi­on to a National Arts Festival by Tokyobased performing arts company enra.

The Japanese performing arts group was started in 2012 by artistic director Nobuyuki Hanabusa and has since enthralled worldwide audiences with gravity-defying performanc­es which blend dance and digital art.

Though the group have performed at well known events including the opening ceremony of the 2015 Cannes Film Festival and toured more than 30 countries over the years,

Voyager

is the company’s first offering to South African audiences.

Combining the skills of dancers with background­s in classical ballet, gymnastics, martial arts, animation dance, juggling and street dance with projected digital art, enra tests the limits, making for performanc­es that need to be watched to be believed.

Defying physics and all we know about space and gravity, enra’s is surreal and

Voyager magical, taking audiences on a journey through the Milky Way and beyond, to a place where we can dance among the planets, hold the light of the stars or the fire of the sun in our hands, and where time and space can be bent to our will.

To date enra’s production­s have been presented as a variety of different or separate pieces arranged together, but

Voyager seems to be the company’s first concept show where each dance scene is connected to the next to create one story.

And while the story is simply that of a voyage through the unending reaches of time and space, the seamless synchronis­ation of the dancers’ movements and digital art projection­s are awe-inspiring.

Each pirouette, body roll, hand flick, jeté (jump) and leg kick is perfectly timed to manipulate and interact with the motion graphics on screen.

Accompanie­d by a live band, under the guidance of musical director and well-known Japanese drummer Nobuaki Kaneko, the dancers move into and through the chaos of the universe.

As much as the dancers are voyagers, so are the audience as we journey through the odyssey of our existence with each of the dancer’s steps.

Although we watch

Voyager on some kind of digital device with a flat screen, the production ’ s 3D effects are not entirely lost on a virtual audience.

There are moments of simplicity and quiet, but interestin­g props, creative light displays and an ever-changing backdrop are incorporat­ed into almost every scene and sometimes all at once.

The movements of the dancers are, however, never overshadow­ed. Rather, they are complement­ed by the added effects. In fact, without the fascinatin­g tech displays, the show would not be as wondrous and captivatin­g as it is.

But if beautiful lines, precise movements, graceful leaps and flexibilit­y are what you are after, offers that too in

Voyager the form of contempora­ry dancers Saya Watatani, Maki Yokoyama and Takako Morimoto.

For those wanting to see neat tricks, juggling dancers and animation and street style movers including Yusaku Mochizuki, Tsuyoshi Kaseda and Kazunori Ishide are the ones to watch.

is a beautifull­y expressed

Voyager fusion of movement and digital graphics — one that offers a celebratio­n of life at times and thrusts audiences into another dimension at others. All the while tempting us to join in on the exploratio­n of the universe and our place in it.

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 ?? Pictures: NAF ?? EXPLORER: Dancer Saya Watatani performs in 'Voyager', a dance and digital art piece that is the Tokyo-based company enra’s first contributi­on to the National Arts Festival and t South African audiences.
Pictures: NAF EXPLORER: Dancer Saya Watatani performs in 'Voyager', a dance and digital art piece that is the Tokyo-based company enra’s first contributi­on to the National Arts Festival and t South African audiences.
 ??  ?? REACHING OUT: A scene from enra's ‘Voyager’.
REACHING OUT: A scene from enra's ‘Voyager’.

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