Bold Tendencies Is A Cultural Hub in London That Exemplifies the Dream of Urban Adaptability

text by Lara Monro

Bold Tendencies is a cultural community hub located within the rooftop spaces of a multi-story car park in the heart of Peckham. Established in 2007 by contemporary art gallerist Hannah Barry, the not-for-profit organization has rooted itself within the bones of the local community and is recognized for taking culture and civic values seriously through a mix of standalone education and community initiatives. 

What was initially a bold arts project has turned an unlikely structure into one of the city’s most exciting public spaces. With breathtaking panoramic views of London and an accompanying (and very popular) bar, Frank’s, Bold Tendencies exemplifies the dream of urban adaptability. Sitting somewhere between pop-up and permanence it has harnessed a thriving cultural presence in a once dead, dark space. 

Sharon Eyal and L-E-V perform OCD LOVE at Bold Tendencies in 2019. © Susan Bingham

Over the past sixteen years, the hub’s cultural program has attracted 2 million+ visitors. It has commissioned 128 artworks to date, including Richard Wentworth’s silvery curved floor painting, Agora (which comes from the Greek term for a gathering place) as well as the gaping ghoulish fairground-style painted mouth of artist Matt Copson. Bold Tendencies also boasts award-winning live programs of music, dance, opera and readings, including performances by the internationally-renowned choreographer Sharon Eyal. And, let’s not forget to mention the car park’s bubblegum-pink, Instagram sensation, stairwell; an artwork in itself by Simon Whybray. 

Bold Tendencies’ 2023 Summer program, Crisis, includes artworks by Emory Douglas, Jenny Holzer, Kahlil Robert Irving, Sandra Poulson, and Abbas Zahedi. The live program opened with the Philharmonia Orchestra performing The Planets by Gustav Holst, and after the success of the award-winning production, The Endz, The Multi-Story Orchestra’s Young Creatives performed Routes. Set in Peckham, Routes is inspired by the musicians’ personal experiences of growing up in the borough. It is directed by Abi Falase, with music led by singer-songwriter Frances Lobo and composer Kate Whitle. The Multi-Story Orchestra is made up of a group of exceptionally talented young musicians renowned for their innovative and boundary-pushing approach to music-making. 

Manchester Collective, known for their innovative and daring collaborations, presented a one-off, double program of German composer and conductor, Richard Strauss’ final masterpiece, Four Last Songs, paired with Metamorphosen, a haunting work of rhythmic and melodic complexity for string orchestra written towards the end of the Second World War in 1945. To accompany the mesmerizing scores leading soprano, Ruby Hughes, beautiful (and haunting) voice reverberated off the car park’s exposed concrete frame, leaving hairs standing on the back of necks. 

Most recently, Bold Tendencies welcomed Irish chorographer Oona Doherty to their public programme for the first time with Hope Hunt, an ode to strength and vulnerability, hitting and swerving at extreme stereotypes of cultural and social class. Based in Belfast, Oona studied at London School Of Contemporary Dance, University of Ulster and Trinity Laban (BA Honors and Postgraduate in Contemporary Dance Studies). Doherty’s distinctive, visceral, and intense performances highlight her rare ability to connect a gesture with the web of emotions that sustain it. She explains, “my work attempts to play with the barrier between the flesh and the soul, the audience and the stage; to share a kinetic experience. I’m motivated to explore states of pure metaphysical honesty. To bring the sex, the punk, the romance and the chi back into the body, the black box, the white cube, and Ireland.’’ 

Still to come, Caleb Femi will present Stone Seed, an immersive live performance that celebrates the power of Peckham to rebuild and reclaim what has been lost in a rapidly changing socioeconomic landscape. Finally, the 21-year-old Swedish-Norwegian violinist, Johan Dalene will perform four pieces—chosen specially for performance in the concrete space—alongside his regular performance partner, award-winning British pianist Nicola Eimer. With music by Arvo Pärt, Francis Poulenc, Sam Wu, Edvard Grieg, Dalene’s program explores the crises of our time with extreme virtuosity and sensitivity. 

Book tickets for all up coming events via the Bold Tendencies website.

GöteborgsOperans Danskompani Presents Choreography by Damien Jalet & Sharon Eyal @ Sadler Wells in London

text by Lara Monro

This weekend GöteborgsOperans Danskompani presented Skid and SAABA, the works of internationally acclaimed choreographers Damien Jalet and Sharon Eyal, at London’s Sadlers Wells. Both performances push the limits of contemporary dance through their daringly experimental approaches.  

Jalet’s Skid was first performed in 2017 at Gothenburg’s opera house. In 2019, it was named “Work of the Year” by the critical collective “Danse avec la Plume.” Its fitting title alludes to the relentless effort that the seventeen dancers endure to stay on the 34-degree tilted stage designed by New York artists Jim Hodges and Carlos Marques da Cruz. 

This experimental choreography is inspired by the laws of gravity, which forces the dancers to both struggle against and surrender to its natural forces. One by one, the dancers emerge over the top of the stage, which they slip and slide down before falling into the dark void at the bottom. More often than not, it is unclear as to whether they are improvising, carrying out a choreographed movement, or in the midst of losing their grip. Jalet creates a landscape of endless possibilities that is both moving and slapstick. The dancers, adorned in playful and multi-functional costumes by fashion designer Jean-Paul Lespagnard, are in an exhausting dialogue with the inhospitable terrain. Split into three sections, the first is a gentle introduction to the dancers and their graceful attempts at navigating their descent. The second is more dramatic as they challenge gravity by ascending the stage; showing off their physical strength and agility in unified choreography. In the final piece, a solitary figure appears, suspended in a beige sack—alluding to an amniotic sack or a perhaps a big pair of tights—and breaks free from their clothes and the womb-like space. Spectacularly framed by the harsh white lighting, the naked body walks slowly to the top of the stage and jumps off into what we can interpret as the precipice of the universe.  

GöteborgsOperans Danskompani, SAABA by Sharon Eyal, image credit Tilo Stengel

GöteborgsOperans Danskompani, SAABA by Sharon Eyal, image credit Tilo Stengel

It’s safe to say the best performance was saved for last. Eyal’s distinct style is effortlessly carried off by the hypnotic dancers in SAABA who spend most of the performance on demi-pointe, pulsating power. Each contorted movement exaggerates Eyal’s uncomfortable, abstract, and totally unique language. The androgynous body suits, made by Dior designer Maria Grazia Chiuri, leave little to the imagination. We are left in awe as we observe the capabilities of the human body when pushed to its physical limits. There is an alien-like quality in the way the dancers carry themselves; an unnerving beauty as each and every muscle throbs and protrudes. Their wild, jarring movements prompt a visceral reaction. You are in awe and repulsed all at once. Favoring unison, Eyal keeps her dancers connected, or at least in close proximity to one another for the duration of the performance. Yet, they manage to maintain their individual conviction and sass throughout.

GöteborgsOperans Danskompani, SAABA by Sharon Eyal, image credit Tilo Stengel

GöteborgsOperans Danskompani, SAABA by Sharon Eyal, image credit Tilo Stengel

Sharon Eyal's Rambert2 Slays The Stage With Killer Pig @ Sadlers Wells In London

Rambert2 Dancers in Sharon Eyal's Killer Pig © Deborah Jaffe

text by Lara Monro
photographs by Deborah Jaffe

In February 2020, 650 early career dancers auditioned to join Rambert2: a new and exciting programme founded to develop the artistic practices of a diverse cast of daring performers. Eleven practitioners were selected for their unique talent. Starting in May this year, the ensemble toured the UK to perform Sharon Eyal’s Killer Pig. Designed to extend the Rambert company’s traditional reach, the Rambert2 collective takes distinctive, world-class dance to more people in more places.

Born in Jerusalem, Eyal established the contemporary dance company L-E-V (meaning heart) with her long-standing collaborator Gai Behar in 2013. Prior to this, Eyal danced with the Batsheva Dance Company from 1990 - 2008. From 2009, she began to form her own choreographies including Killer Pig (2009) and Corps de Walk (2011). Since 2013, L-E-V has had more than 200 performances in some of the most exclusive venues and festivals around the world: The Joyce Theatre – NYC; Jacob's Pillow – Berkshires; The Montpellier Danse Festival – France; Julidans – Amsterdam.

Last weekend, Sadlers Wells welcomed Rambert2 to its stage. Eight of the eleven performers executed Killer Pig with unwavering raw passion. The minimalist expression, intense honesty, and uncompromising physicality of the piece is provocative, carnal, and adrenaline-inducing. L-E-V uniquely combines ballet with hip hop: a head-bop seamlessly morphs into a pirouette. At forty minutes in length, the performance is the epitome of artistic endurance. The audience witnesses fearless determination and dedication as the performers bodies are pushed to extremes. The dance explores a spectrum of emotion: dark, obsessive, and beautiful. 

Instantly submerged within what feels like a club room dedicated to pounding industrial techno, the bodies move mainly in unison — part of a whole organism that ebbs and flows across the stage — until one, or a few break off and offer up an independent performance before dissolving back into the collective. It's tribal, at times trance-like, with a sassy aggression. 

Tight, beige leotards leave little to the imagination, allowing every part of the anatomy to be celebrated for its athletic achievement: muscles bursting, ribs protruding. The harsh, white lights designed by Kevin A. Jones draw attention to their facial expressions: passioned, pained, sometimes crazed. 

Home was also performed by Rambert2: a new commission created by the American choreographer Micaela Taylor. The first dance of the evening is recognized for its numerous influences that encompass classical ballet, hip hop and Gaga. 

Long-term L-E-V collaborator, Ori Lichtik, is the genius behind the multifaceted industrial soundscape, which arguably seals the deal for making the performance an all-around superlative piece of contemporary dance. The standing ovation, and emotional reaction this provoked in the audience, was a poignant nod to the long-overdue return of live performance post COVID.