ESCAPING WAR

DANCE

THE HUB AT THE time of writing, I’m wearing a pink face and a layer of sweat because Bal Moderne’s

Escaping War is part show, part workshop. And although joining in with the “unique participatory experiences” of the Belgian company is not compulsory, it’s so much more fun if you do. . The basic premise of Escaping

War is just as the title suggests – an opportunity to free ourselves from the pain of conflict.

To get us in the right mindset, we’re shown archive footage of the two world wars, from the flag-waving departures to the trauma of the trenches. We also see the dances and leisure activities those living through wartime used to distract themselves.

A brief, but highly enjoyable mini concert follows, featuring singers Emma Morwood and Chris Elliot, backed by pianist Andrew Brown. Then it’s our turn to create a diversion, courtesy of Bal Modern’s instructors and local Edinburgh dancers.

Watching them perform, it seems impossible that the whole room will learn so much choreography in so little time. Yet that’s exactly what happens. Two dances, one considerably trickier than the other, but both well within the grasp of those who like to hit the dancefloor.

The first gives a wartime parade a contemporary twist, the second has us dancing the Black Bottom and Charleston. Both give us an experience we won’t forget in a hurry.