REVIEW: Sang’s choreography for Re-Mark, in this new version for #HongKong, is wild: although the runtime is relati… twitter.com/i/web/status/1…—
The Prickle (@ThePrickle) November 23, 2019
This new, 70-minute contemporary piece for thirteen dancers is the main event of the City Contemporary Dance Festival (CCDF) 2019. Celebrated choreographer Sang Jijia originally created Re-Mark for eight dancers in Florence, Italy, in 2018. Now, the dynamic, fast-paced, constantly changing piece is reimagined for a larger ensemble, making full use of Hong Kong’s new black box theatre, The Box at Freespace.
Sang’s choreography is wild: although the runtime is relatively short, we leave the auditorium transformed, like we have witnessed generations upon generations of stories. The cast is uncredited in the programme, but their physicality, relentless skill, unity as an ensemble, and strength of memory, is truly exceptional from beginning to end.
Despite being presented “black box” style, the whole creative team contributes to the work, as much as the choreography. Kung Chi-shing’s original score (played brutally loud) is minimal and slow, sometimes even without rhythm. This couples with the fast-paced, unpredictable choreography to startling effect. Jan Wong’s set sees a large, boat-like log dominate the stage, under a junk-like canopy of mirrors.
The piece is wholly abstract, and the flurry of activity is literally impossible to take in on one viewing; the stage is often littered with simultaneous solos, duets, trios, all pulsing together in and out of unison. The overall effect is overwhelming, with themes of love, loss, the connectedness of humanity, journeying, and helping – in places, it looks like a story of immigration. A lot to process when your jaw is hanging open.
Re-Mark is playing as part of Hong Kong’s City Contemporary Dance Festival 2019.