Shechter II: In the Brain review – a thrilling release of rave and ritual
Queen Elizabeth Hall, London Hofesh Shechter’s latest doesn’t break new ground, but its exceptional dancers throw themselves into a moody, pulse-quickening celebration of communal movement
Queen Elizabeth Hall, London Hofesh Shechter’s latest doesn’t break new ground, but its exceptional dancers throw themselves into a moody, pulse-quickening celebration of communal movement It may be 38 years since the second summer of love, three decades since the dance music boom of the early 90s, but on the contemporary dance stage, rave is still peaking. In recent years, you’ve barely been able to move for dancers letting loose to repetitive beats, in tribal gatherings and transcendent ones. Hofesh Shechter’s dance has always had that rhythmic pull of the dancefloor – he writes his own beat-driven music, after all – but while the early works were more angst-fuelled, now he seems happy to get lost in music.
Shechter’s latest, In the Brain, has been developed from a piece called Cave made for Martha Graham Dance Company in 2022. It’s danced by his junior company, Shechter II, a collection of some of the best young dancers under 25, selected from around the world. They have that hungry energy of youth, and they lay it all out on the floor. In the Brain is not an all-out party, though. It has its quiet moments, its slow build, its not-always-enlightening detours (into a brief swing dance, and a couples’ slow dance, to name two). The feel is subterranean, not least because of Tom Visser’s lighting.
Visser is king of the dim glow in all its subtle shades – maximum atmosphere with minimum drama – and Shechter’s score is similarly dusky and moody, rather than party bangers. (There’s also additional music from German techno duo Âme.) More than anything, In the Brain is recognisably Hofesh: the hunch of the shoulders, the arms raised to the sky, the ritualised groups moving as one – it’s a style that’s inspired many others. This piece isn’t rushing into new territory, but part of the appeal of Shechter’s choreography is that you can imagine it feels so good to dance it. There’s a tangible, visceral pleasure, whether that’s the thick, gloopy curves of movement or an almost violent exorcism, flinging out the body’s demons to a pounding bass.
It’s dance that doesn’t seem drastically far from natural movement – so the viewer could feel themselves inside it – except there’s no way you could match the skill of these explosive performers. But the power is in the communal nature of the dance, the fellow-feeling, plugged into something bigger than oneself, surrendering to the universal heartbeat of the dancefloor. • Until 25 July at Queen Elizabeth Hall, London Continue reading...
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