Loga árvvoštallama davvisámegillii / read the review in Northern Sami Can politics become dance? Yes. When the choreographer Elle Sofe Sara and the artist Joar Nango join forces to create contemporary dance about the policy of Norwegianisation towards the Sami, the starting point is heavily political. Nevertheless, it strikes me that the performance is most of all human, characterized by a kind of loving expression. “THE BIRDS; ways to deal, ways to heal” has an undertone of reconciliation. REINDEER DRIVE: Reindeer driving is a recurring theme both in the text material and in the choreography. Behind you can see the transcribed text from the Storting’s question time on 12 October 2022. Photo: Øystein Haara Sliten sled Elle Sofe Sara is a choreographer and director living in Kautokeino. In 2022, she was awarded the Critics’ Prize for the dance performance “Vástadus eana – The answer is land” – also a performance about the meaning of belonging and country, and about the importance of being in a group. She has taken the image of the flock with her when she now collaborates with Carte Blanche – Norway’s national company for contemporary dance – and has its premiere in the city of power: Oslo. As with “Vástadus eana”, “Birget” also starts outside the stage room. In the foyer of the Opera there is a tired sleigh. On top of it is a blue tarpaulin and some red plowshares. In the packed foyer, the sleigh is barely visible, and when the dancers come out to the audience, few notice them. COLLECTION AROUND THE SLEDGE: A tired sleigh from Kautokeino in the Opera’s foyer. “Birget” starts around this sledge, but few probably got it. Dancers from left: Brecht Bovijn, Noam Edelman Shatil, Caroline Eckly. Photo: Øystein Haara Over a small, portable speaker, they play excerpts from the King’s speech from the opening of the 7th Sámi Parliament – but hardly anyone hears his majesty, either. It is striking how small and insignificant the art becomes, almost invisible. The sound of the premiere audience’s mingling drowns out most. As a rallying point, this opening is not successful. The sled is pushed towards the entrance to Stage 2, and the audience follows. But who realized what was happening, really? ATONEMENT: Used, yellow bags are sent from the audience area down to the dancers on stage. There they are used to build something new – and become a kind of image of cooperation and reconciliation. Photo: Øystein Haara Dans med Vestre Once on stage, Carte Blanche’s dancers walk wearing shorts, crocs, flip flops, hoodies, cowboy boots or sweatpants. The king’s speech continues in here while the dancers occupy the stage space, get the sleigh in place, rig up a kind of gathering place – it reminds of everyday life. “That we can live as equals is of decisive importance,” says Kongen. Gradually, the choreographic image changes, the dancers change into clothes sewn from transparent plastic, we sense a herd in subject. Suddenly, the dancer Brecht Bovijm darts softly across the stage like a reindeer. The sound of the performance then moves from the King’s speech to a recording from the Storting’s question time on 12 October 2022, where Ministers Kjerkol and Vestre both have to answer for what has been done to correct things after the Fosen judgment was handed down – and they also have to answer questions about proper health care for the Sami population. TOGETHER AT VIDDA: In a community and a herd is gradually built up. At the same time, the dancers also represent individuals. Photo: Øystein Haara Jumping and stomping At the same time, the dancers seek community in smaller groups that are constantly growing larger. The choreography starts with small side steps which are then developed into larger movement patterns that more people fall into. There is jumping, stomping and stomping in a herd. It is carried when needed. Together, the dancers build a community about themselves. The sled is pulled forward, and gradually a society is built in plastic. Here, Joar Nango’s scenography becomes essential – it is made up of objects found on the plain. That means: a lot of plastic and tarpaulins. This also creates a notion of littering, of plastic and scrap as supporting elements. This is very well integrated into the show as a whole, and it takes on a new meaning when the objects that look like they are left over in the world can be used to build something. It also sounds good in the show’s title: Birget is Northern Sami for “to save”. STAMPER: Dressed in plastic and with a community-seeking choreography, Carte Blanche builds a herd feeling in “Birget”. Photo: Øystein Haara Human wound healing Throughout large parts of the performance, the dancers have their eyes directed at the audience. And at one point they also need help: Large, empty, yellow reindeer fodder sacks are hidden under several of the seats. As the audience digs them out and sends them forward towards the stage, it not only flows like a yellow spring river in the Opera, but also as a kind of act of charity, a building of community, a start of reconciliation. BRAVE: Elle Sofe Sara stands out as a brave choreographer in “Birget”. Photo: Øystein Haara “Birget” has been created as a response to the Truth and Reconciliation Commission’s mission, they will deliver their report in the summer. How to deal with injustice, and how to heal wounds? asks the show. The responsibility lies largely with the politicians. But “Birget” points to the individual as an important component in the wound healing process. Artistically, this is a strong collaboration between Sara and Nango, and Sara stands out as one of our bravest and strongest choreographers. If the start didn’t work, the performance quickly picked up. The courage, energy and power of the finale is a kind of hopeful boost about a leaning process. If everything is not forgotten while mingling in the foyer again, that is. news reviews Photo: Øystein Haara Title: “BIRGET; ways to deal, ways to heal» By: Carte Blanche, Norway’s national company for contemporary dance Venue: Den Norske Opera & Ballett, will also be performed in Hamar, in Bergen, in Stavanger and in Harstad Period: 9 February–24. May Idea and concept: Elle Sofe Sara & Joar Nango Choreography: Elle Sofe Sara Scenography: Joar Nango Costume designer: Indrani Balgobin Composer: Anders Rimpi Lighting designer: Arne Kambestad Dramaturg: Thomas Schaupp Research: Ravdna Turi Henriksen Dancers: Irene Vesterhus Theisen, Anne-Lise Rønne, Ole Martin Meland, Aslak Aune Nygård, Caroline Eckly, Dawid Lorenc, Adrian Bartczak Noam Eidelman Shatil, Nadege Kubwayo, Hanne van Driessche, Brecht Bovijn, Gaspard Schmitt, Daniel Mariblanca, Tilly Sordat, Trine Lise Moe. Co-produced by: The Norwegian Opera & Ballet, Festspillene i Bergen, Nordic Next, BIT Teatergarasjen
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“THE BIRDS; ways to deal, ways to heal” at The Norwegian Opera & Ballet – Reviews and recommendations
