A collaboration with Shoabana Jeyasingh Dance Company with Errolyn Wallen, Scanner, Patricia Rosario, Lucy Carter, Ursula Bombshell, Dick Straker. Uk Touring Production 2007-8.
Faultline was selected for Dance Top Ten Pick of the Year 2007 by Luke Jennings in The Observer.
[Metro] March 2007 “Faultline” is a sophisticated patchwork that’s augmented by film images by Pete Gomes, lending a haunting quality to a dance work that traces a journey from streetwise public life of its characters deep into their psychological motivation”
[The Guardian] March 2007 “In a capsule of black and white film images singing the rich music of Errolyn Wallen, Patricia Rosario appears like an implacable goddess…both desirable and threatening”
[The Independent] March 2007
“Pete Gomes’ grainy black and white film footage is somewhere between Acton and Accatone… the menacing essence of London street aggression clothed in cheap adidas”
[Times] March 2007 “Pete Gomes’ film [shows] young Asian men walking along the street or captured in a moment of stillness like a portrait of British Society.”
[Evening Standard] March 2007
“Two Narratives run side by side in Shobana Jeyasingh’, and with the title Faultline you assume a friction or at least a dilemma. Although there are three women dancers, Faultline is about the men, how they move, how they look, how they live. Jeyasingh’s urban Asians are confident but also conflicted, hard working but mutinous - a burnt-out car features in Pete Gomes’ film. The duality is conveyed not only in the contrast between the film and the live action but also in the movement style. Faultline is a thoughtful and serious and as you’d expect from Jeyasingh a classy collaboration (Scanner, Errolyn Wallen, Pete Gomes, Patricia Rozario).”
[Times] March 2007
“ It’s clear that Shobana Jeysingh is fighting back. Her new piece ‘Faultline’ ‘ is one of the most accomplished we’ve seen from her in a long time. What fired he up she says was the ‘current debate about Asian youth’. So up on large screen at the back of the stage, we see Pete Gomes’ film of young Asian men walking along the street or captured in a moment of stillness like a portrait of British Society. Then we suddenly see our own young men in the shape of Jeyasingh’s dancers…and her movement language has never seemed more multilingual…”
[The Independent] March 2007
‘Faultine’ begins without a dancer in sight. Instead, projected on a large central screen is Pete Gomes’ grainy black and white film footage with sits somewhere between Acton and “Accatone”, showing Asian youths gesturing and spitting, the menacing essence of London street aggression clothed in cheap Adidas. Mixing narrative, film, music and choreography, Jeyasingh confidently uses the stage like an editing suite, creating a fluid dance media montage. Situated behind the film screen and dressed in full sari, Rozario sings whats seems like a lament for multiculturalism. As she sings her projected image is overlaid with that of eerily bland suburban houses, laced with nascent cultural threat.”
Faultline was selected for Dance Top Ten Pick of the Year 2007 by Luke Jennings in The Observer.
[Metro] March 2007 “Faultline” is a sophisticated patchwork that’s augmented by film images by Pete Gomes, lending a haunting quality to a dance work that traces a journey from streetwise public life of its characters deep into their psychological motivation”
[The Guardian] March 2007 “In a capsule of black and white film images singing the rich music of Errolyn Wallen, Patricia Rosario appears like an implacable goddess…both desirable and threatening”
[The Independent] March 2007
“Pete Gomes’ grainy black and white film footage is somewhere between Acton and Accatone… the menacing essence of London street aggression clothed in cheap adidas”
[Times] March 2007 “Pete Gomes’ film [shows] young Asian men walking along the street or captured in a moment of stillness like a portrait of British Society.”
[Evening Standard] March 2007
“Two Narratives run side by side in Shobana Jeyasingh’, and with the title Faultline you assume a friction or at least a dilemma. Although there are three women dancers, Faultline is about the men, how they move, how they look, how they live. Jeyasingh’s urban Asians are confident but also conflicted, hard working but mutinous - a burnt-out car features in Pete Gomes’ film. The duality is conveyed not only in the contrast between the film and the live action but also in the movement style. Faultline is a thoughtful and serious and as you’d expect from Jeyasingh a classy collaboration (Scanner, Errolyn Wallen, Pete Gomes, Patricia Rozario).”
[Times] March 2007
“ It’s clear that Shobana Jeysingh is fighting back. Her new piece ‘Faultline’ ‘ is one of the most accomplished we’ve seen from her in a long time. What fired he up she says was the ‘current debate about Asian youth’. So up on large screen at the back of the stage, we see Pete Gomes’ film of young Asian men walking along the street or captured in a moment of stillness like a portrait of British Society. Then we suddenly see our own young men in the shape of Jeyasingh’s dancers…and her movement language has never seemed more multilingual…”
[The Independent] March 2007
‘Faultine’ begins without a dancer in sight. Instead, projected on a large central screen is Pete Gomes’ grainy black and white film footage with sits somewhere between Acton and “Accatone”, showing Asian youths gesturing and spitting, the menacing essence of London street aggression clothed in cheap Adidas. Mixing narrative, film, music and choreography, Jeyasingh confidently uses the stage like an editing suite, creating a fluid dance media montage. Situated behind the film screen and dressed in full sari, Rozario sings whats seems like a lament for multiculturalism. As she sings her projected image is overlaid with that of eerily bland suburban houses, laced with nascent cultural threat.”