A piece for six dancers to the theme of light, Indigo is Paco Dècina’s new creation in residency at the Théâtre de la Cité Internationale and the Faits d’Hiver Festival. The color of night, which separates from day, is the only architectural decor; the choreographer goes right to the essential, delivering dance, which seemingly unveils a secret body language.
Focused on dance, space and light, Dècina has created flowing and carnal body movements filled with stretching, immobility, rolling, curves, manly lifting and flat motions. Using tension and opposition, the body to body movements unwind their patterns in silence and darkness expanding in minute movements, in trajectories and lines, coming untied in rays of light. Everything is appeasement, dispossession and loosening.
The dancing bodies then transform magnificently into phrases to the sound of chanted texts. This ever so pure gesture could be tainted with austerity if it was not filled with and uplifted by the talents and strong personalities of the dancers, (Valeria Apicella, Takashi Ueno) as well as the choreographer himself. Paco Dècina offers here an all-new alphabet of movement through the sight of movements never seen before revealing the "untouchable".
He renews yet again the magic of last May's performance of Chevaliers sans armure, proving that he is, discreetly, one of the most talented choreographers in modern dance.
Paco Dècina plunges us into a dream, an echo of the world, an iridescent silk fan: Indigo, an emblem of poetry. From the onset, the time-lag is set with the waves of a dancer behind a piece of fabric held by two dancers of different heights. All throughout the piece, the variations of space as well as the shadows and colored lights harmonize with body movements flowing like water, as soft as the moon’s rays, and punctuated by whimsical humor. Beautiful imagery in the line up of dancers resembling a fresco and at the end of the dancer's race around the stage, the image of a man spinning around and dressed in black, with dancers attached to each arm. But the play could use some tightening in the last part (which conceals some of the finest moments, including a solo from Paco Dècina) in order to appear less chaotic.