Review: Adapting For Distortion & Haptic

Adapting For Distortion & Haptic, Hiroaki Umeda

Hiroaki Umeda's Adapting For Distortion and Haptic is anti-narrative. The contemporary dance and lighting performance, it is said, expresses no (intellectual) storyline or message - it is quite simply just a visual spectacular.  

The show is composed of two distinct solo works - Distortion and Haptic, both lasting just under 30-minutes long. Where Distortion is more invasive; Haptic is beautiful - a staggering contrast and juxtaposition creating a stunning and vastly unique piece of performance art. 

Toyko-based Umeda is a sound artist, dancer, choreographer, and founded the company, S20. Showing as part of the Melbourne Arts Festival 2010, Adapting For Distortion and Haptic is an experience in all sense of the word. 

Umeda' choreography is hip-hop influenced - he is a master of isolation; popping, locking, waving to a soundtrack akin to white noise in the first half of his performance, Distortion. The lighting work, conceived by S20, is as much a lively performer as Umeda is, and creates a hi-tech, space-like feel, and illusions of perspectives. 

Whilst it is a solo work, Distortion is more aptly described as a tango, or a pair's dance piece with Umeda partnering up with the lighting. His timing is impeccable; at times ceasing all movement just as the dancing lights reach a static position. At other times, the lighting seems to control the dancer, bending and shaping him alongside the stop-and-start, non-melodious music. Just as the lighting sometimes controls him, Umeda's dancing ability possesses the remarkable skill to create the illusion of also controlling the lights. 

Hip hop is the perfect dance to pair up with such a performance. Here, Umeda is a shape-shifter; he moves from fluidity to hyper-controllled motions, to stillness - one memorable part of the show saw the dancer perform a kind of abstract krumping movement, launching his body in a controlled yet mind-baffling, awe-inspiring great speed, as the sound heightened in volume and distortion. 

Haptic, on the other hand, is more subtle. The artist re-enters the stage dressed in black (previously in white). The stage is bathed with soothing, much softer light - changing from blue, to red, to green. Haptic (the word) denotes the relationship of touch. In this interview with Umeda, he says: "It was my desire to transmit dance to the audience as an object touching eyes."(Beat Magazine). 

Here, the lighting is less invasive and frames the focus towards the dancer and his movements. The soundtrack remains the same - the by-product of what sounds like radio interference meets experimental electronica. 

Haptic showcases what the body can do. The choreography evokes more of a caressing feel - many times during this solo performance Umeda remains still in a pose. The movements are articulate, conveying balance and control, and the eyes are left to wonder the form of his dance, with little distraction from the lighting.

Adapting For Distortion and Haptic presents lighting as a tool to enhance the movements of the body. It highlights, climaxes, amplifies and compliments the choreography in which the dancer abides by. If you ever get the chance, catch the show, though be warned, there is loud music and strobe lighting.

(Season closed)