Review: RHYTHM OF HUMAN, Coronet Theatre

"Intimate communication, harmonising music and dance" - that's the mission of Boram Kim, the founder and choreographer of the Ambiguous Dance Company (established in 2007) from Seoul.

 

Ambiguous present the UK premiere of Rhythm of Human, choreographed by Kim at The Coronet Theatre. The work looks at the present day Korean man wrestling with societal expectations, and the Ambiguous blurb proposes “undefinable” content in order to communicate the narrative agenda through Kim's "distinct musical interpretation."

 

Overall it isn't an easy night, but a worthwhile one regardless. The more testing moments are alleviated through absurd comedy, but if that isn't your thing, one just has to soldier on.

 

Personally I didn't find representation of the "wrestling with societal expectations" premise with any depth, but of course recognised the obvious visual, and physical displays: underwear pageant parading, corporate attire catwalking, gym bunny buffoonery and genitalia manhandling - all in sunglasses.

 

The cast of five are diverse, exacting dancers, with Kim's creativity helping them no end. I believe you can be a good choreographer without necessarily being a dance maker, but Kim happens to be both. His choreographic capabilities seem endless, specifically the use of space (including site-specific), patterning, structure, musical understanding and originality. 

 

The dance making component keeps surprising the observer as the work develops. Kim uses different styles of music throughout; Latin, house, classical and song, and all are brought even more to life through his detailed and rich phrasing.

 

Fundamentally we're looking at hip hop language and execution, that's been developed to include elements of jazz, ballet and perhaps an aspect of the "undefinable" that's somewhere between mime and Greek (the posey, natural movement variety).

 

The beginning of the work isn't hugely inviting, but it's also where Kim introduces a choreographic toolkit to educate the audience. He utilises stillness, movement in silence (at times feeling endless), bodily percussion, repetition, absurdity and disconnection. In the moment it can feel trying, but very soon in, it all highlights the harmony of dynamic, eclectic dance to music that follows.

 

Seeing Kim's work makes me even more interested than I already am in the Korean dance scene. There's a potent fusion of simplicity and sophistication, and it's equally refreshing as it is bemusing.