Black screens hang from the ceiling of the studio stage in Bremen's Schwankhalle. Data particles flow over them like rain on giant windows. In Helge Letonja's Nomada for the Ensemble Of Curious Nature, the audience moves across the stage to their seats, past the screens on which a video installation is running. Digital bodies melt and blow away in the particle storm. The audience slowly wanders between the digital images and the real dancers who appear on the floor. A surreal introduction, this change of perspective at the beginning of a captivating choreography. Nomada awakens, is loved, carried, and dies.
The community has more energy than the individual. Letonja uses humming and language. Added to this are the sounds of Miguel Marín whose composition increases from silence to tension to alarm and supports the seven dancers in their expression to the maximum. The choreography is intricate and acrobatic, relies on aesthetic accents and time-outs, conjures up longing, threat and confusion. At the end, a person stands alone. Strong, but lonely. Then the broadcast ends. Sound, light, video and dance make for a piece worth seeing, a kind of wake-up call: Where are we walking in the digital flood?
