The Fleeting Moment was a neatly woven tapestry of one's innermost goings-on, buttressed by the palpable emotion and mindfulness of the dancers in approaching the choreography.
It was also a showcase of Raw Moves' versatility, proving that the company excels in not only nontraditional settings (last year's Run Another Way was set in an art gallery), but also on a stage with no elaborate props.
Bursting through a closed door at stage right was Kenneth Tan, the only male dancer and the evening's point man. He was slowly joined by five female dancers, expanding, circling and contracting around him like they were tethered to him by an invisible thread. They were extensions and shadows of him in the way that they mirrored, reflected and provided a counterpoint for his movements.
Italian choreographer Teresa Ranieri's work sampled from the wide range of human emotions, stitching together sections of people's emotional landscapes into small segments.
REVIEW / DANCE
THE FLEETING MOMENT
Goodman Arts Centre Black Box/ Thursday
BOOK IT / THE FLEETING MOMENT
WHERE: Goodman Arts Centre, Black Box, 90 Goodman Road
WHEN: Tonight, 8pm
ADMISSION: $32 from thefleetingmoment.peatix.com.sg
A pair of performers stood to the side, quietly, meditatively folding origami birds before letting them loose into the world. Another futilely charged forward, legs scissoring fast, but never got anywhere because of another dancer holding her back.
Ranieri's movements were always natural, fluid and alive - distinct but always connected. The dancers were also low to the floor and hugged the ground with their feet.
In an interview with Life before the show, Ranieri had said she wanted the dancers to be mindful of being in the moment and to feel their own personal connection to the work. This slant was very evident in the way the dancers moved and it was clear they were feeling the energy of being on stage, the mat beneath their feet and the presence of another body close to theirs.
Each dancer delivered a solid, wholly immersed performance, which was reinforced by the sound and multimedia. From the pitter- patter of what sounded like a rainmaker to the tense strains of a violin and mournful twangs of a guitar, sound designer Ng Jing's creation was on point without overwhelming the dancers.
A video by Bruno Perosa also provided a dramatic backdrop by creating projections, from an almost horror-film-like montage of flickering faces to a gentle cloud passing over the prone bodies of dancers.
The Fleeting Moment was an immersive, well-coordinated meeting of all these different elements, which truly brought one's inner emotional landscapes out onto the stage.