Triggered by my last review, I must admit a new guilty pleasure. Some wear crocs shoes secretly; others get orange fake tans and claim it’s their natural skin tone; well, I currently read through the Collins dictionary for my delight. Today I haven’t woken up at an indecent time to seek definitions; instead, today I have studied the sacred book of vocables at midday, after attending ProDance class. As this week sessions are dedicated to Countertechnique, the prey of my search keeping my brow furrowed was the term ‘counter’. As I scroll my eyes down through its synonyms (opposite, respond, react...) I’m left wondering, craving to find connections.
Walking into the studio I bump into Eugenia Demeglio, a red headed woman whom I recognise as the Countertechnique master. Her daring energy gets us quickly moving through the space. She talks us through the body parts which precipitate the travelling forwards and backwards. Soon we get working on a series of exercises where the purpose of Countertechnique gets increasingly clearer; although the patterns resemble conventional dance routines, the approach is the antipode of the harsh dogmatism that one would relate with traditional dance practices. Imagine her majesty the queen rioting against monarchy and you’ll get a good depiction of what I mean; the shape is familiar but its behaviour is revolutionary.
The class moves on and Eugenia guides us into more intricate routines. We cross the space floating side to side and it gradually becomes obvious that Countertechnique uses body opposition as a principle to facilitate the moving body, the dancing body. Eureka! I’ve found a connection!
Fed yet not satiated I will surely go back tomorrow, as each day bring a new chance for uncovering hidden connections.
By Anna Cabré-Verdiell
You can still catch Eugenia’s class on Tuesday, Wednesday and Thursday from 9.30 to 11.00 at RJC Dance.