NADINE ELISE MUNCEY – SOFT SURGE
Whipped up with sugar, water and gelatine into a solid-but-spongy consistency, that’s shoved between your teeth. Bite. Chew. Have another. And another. Again and again and again and again. Again. Again. Again. Soft, sweet, gentle, caring, delicious, love, surrender, sigh, melt, sticky, aching, gross, chewy, sore, disgust, frustrated. On and on and on and on.
soft surge is a contemporary dance work that aims to explore the understanding and complexities of tenderness. This word that is loaded with information and energy, towards the self, to others and to pain.
Cast and Credits
Choreographer: Nadine Elise Muncey (she/her)
Dance Artists: Freja Jenkin (she/her), Petronella Wiehahn (she/her), Julian Nichols (he/him), Shannon Oleson (she/her)
That day, I came to the Resolution festival to see “soft surge” choreographed by Nadine Elise Muncey. I saw Nadine dancing in Julian Nichols’ piece two years ago; this time, Julian was dancing in Nadine’s piece. “soft surge” was made to be enjoyable, over-enjoyable, and over-sweet. The performance was super sensible and super intimate, which was amplified with lighting. In the beginning, being in darkness, dancers stood in line next to the backdrop, and only their rib cages moved. I could watch this subtle movement ’forever’ and thought I would appreciate it if they only breathed for 20 minutes. However, the choreography was gradually developing. When the dancers came closer to the audience, they immediately broke the fourth wall. They were utterly sincere and vulnerable in their movement; it felt like they danced naked next to the audience. Yet, they wore ridiculous pink fluffy costumes, which created associations with ballet and cabaret. I am a big fan of Julian Nichols’ talent, who performed in the piece; he moved highly professional – his movement was, as I call it, ‘qualitative’, what I particularly appreciate in dance. He feels and controls the movement from head to toe. Every little part of his body softly and (seemingly) easily ‘speaks’ while he dances. Nevertheless, I have to confess that all three dancers moved flawlessly, and the choice of performers was perfect. Petronella Wiehahn, with her long body lines, was so elegant and mature in her movement. Phoebe Higgins was playful and masterful in intense and demanding moves. The piece was about giving the audience what they expect from dance: pure entertainment in an exaggerated manner. They poured the sweetness over the audience, enjoying themselves and projecting the joy of moving the body to the audience.
Eka Zharinova 