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Monday March 24, 2003
Review: The If Path
A mask featured in The If Path
Challenging dance movements in The If Path.
Jenny Enarsson's preconceived notions of dance were challenged by the refreshing and breathtaking movements of Cafe Reason Butoh Dance Theatre's The If Path.
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By Jenny Enarsson

The Butoh dance form

The experimental dance form Butoh was born in Japan in the 1960’s.

Read our background feature on
The If Path.

It contrasts with most Western dance in that it has no canon of movement or technique and it does not strive to be conventionally beautiful. In fact, at times it is both grotesque and scary.

'The If Path'

Café Reason Butoh Dance Theatre performed their latest production ‘The If Path’ at the Pegasus Theatre.

Sometimes funny and sometimes sad, The If Path takes the audience on a journey of confrontation as it crosses physical, emotional and spatial boundaries.

The production is an allegory for life’s uncertain progress and the paralysing dilemma of choice.

A total of eight dancers – five female and three male – guide us up and down this path, their faces at times blank and then exceedingly expressive.

Sometimes the dancers hide their facial features behind masks; sometimes they stare right at us and stick their tongues out. There are solos, duets and ensemble pieces. There are times when it seems as if each dancer is doing their own thing until suddenly they all come together in the same choreography.

The dancers’ whitened bodies challenge our perceptions of what dance can be. Ironically, the refreshing "anti-aesthetic" of Butoh offers moments of breathtaking beauty. More than that, it provokes the audience to think about the issues raised, and maybe cross some boundaries of their own.

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