Danza Contemporánea de Cuba (2017)

Further info: Hot Cuban passions, sass and wit all meet in Reversible by Annabelle Lopez Ochoa. It delves deep into the path of gender matters, sudden changes in relationships, the games, rivalry and pleasure of being opponents and dissidents. To an eclectic soundtrack including music by Jean-Claude Kerinec & Staff Elmeddah, Kroke, Scanner and Eric Vaarzon Morel, Reversible is a captivating comment on gender, spoken in Lopez Ochoa’s trademark quirky style, this time with a Cuban accent. Lighting is by Fernando Alonso and costumes by Vladimir Cuenca.

Reversible, performed by seventeen company dancers, premiered in Cuba in 2015. The original production was sponsored by the Netherlands Embassy in Cuba.

Lopez Ochoa has created work for over forty dance companies across the world, including English National Ballet and New York City Ballet, and is currently one of the female choreographers most in demand in the international scene. In 2012 she created her first full-length ballet, A Streetcar Named Desire for Scottish Ballet. The production received a South Bank Sky Arts Award for ‘Best New Production’ and a Critics’ Circle National Dance Award for ‘Best Classical Choreography’. Earlier this year Lopez Ochoa received further critical acclaim for Broken Wings, a new work for English National Ballet’s She Said programme.

Further info: The Listening Room, an exuberant and experimental piece by Theo Clinkard, was created for twenty DCC dancers and premiered in Cuba in May 2016. It was originally funded by British Council as part of ‘Islas Creativas’ (Creative Islands) initiative between British Council and DCC to support the development of new choreography.

Set to Steve Reich’s driving score, ‘Variations for Vibes, Pianos and Strings’, The Listening Room is a celebration of expressive and instinctive dancing. As the performers in headphones respond to an alternate soundtrack of wildly diverse music and text, the piece invites the audience to create their own relationships between what they hear and what they see. Lighting is by Fernando Alonso and costumes are made by Vladimir Cuenca.

Following twenty years performing in work by many of the UK’s celebrated dance makers, Brighton based choreographer, performer and stage designer, Clinkard has swiftly built an international reputation for creating compelling and visually arresting dance. Clinkard launched his own company in 2012 to develop work that explores the communicative potential of the body and the empathetic nature of dance in performance. In 2015, he was one of three choreographers selected to create a work for the renowned Tanztheater Wuppertal Pina Bausch as part of their very first evening of new work after the passing of its founder, the visionary Pina Bausch.

Further info: Matria Etnocentra by the company’s resident choreographer and dancer George Céspedes sees 23 dancers moving to a drill-like rhythm in this award-winning work: following its world premiere in Havana in 2015, Céspedes was awarded the Critique Villanueva Award 2015 by the Union of Writers and Artists of Cuba for ‘Best Choreography’.

To music by Nacional Electrónica and Hermanos Expósito including interpretations of the music of Ignacio Villa (Bola de Nieve), costume design by George Céspedes and lighting by Ariel Capote Granado, it is an exciting group work that portrays the tension between the fluidity of music and dance and the regimented nature of daily life in Cuba.

Following DCC’s last UK tour, Céspedes’ Mambo 3XX1 was nominated for Olivier and TMA awards for ‘Outstanding Contribution to Dance’. Born in Holguin in Cuba in 1979 Céspedes studied at National School of Dance in Havana and joined DCC as a dancer in 1998. As a principal dancer he has performed in more than 19 works in DCC’s repertoire. He has created works for many companies including DCC, Ballet Nacional de Cuba and National School of Dance.