Five colours, yellow, blue, red, green and brown, provide a source for dance material as well as costume. The way each colour group performs functions as a metaphor for distinct people, distinct ways of collaborating, distinct ways of cultural being, even, in this WW1 context, of distinct nations.
Goethe’s theory of colour focused on the symbolic meaning of colour. This perspective intrigued Rudolf Laban and became a starting point for his movement material. The five discrete modes of moving and collaborating form short sequences that, when juxtaposed with each other, celebrate difference. Each group is supported by a brass player who improvises around their quality, watching, enhancing.
The dancers in yellow are sharp, darting, jumping, spark-like. They meet and part, projecting out into the environment.
The dancers in blue are steady, buoyant, calmly retreating, concerned with each other, as they gather in still clusters. They open into friezes, collaborating by supporting and counter-balancing one another’s weight.
The dancers in red are fiery, flamboyant, whipping round, leaping, with a vigorous spiraling dynamic. They collaborate by lifting and jumping over each other and by working in canon.
The dancers in green are fluid, they travel in a line and surround, interweave and grow. They keep touch with one another, leading and following each other.
The dancers in brown are earthy, stay close to the ground and to each other, move rapidly and unpredictably. They function together in unison, acutely aware of each other while focusing out, watchful.