The usage of only the break dance movements (bboying) in Oh, no! marks Dalija Acin’s choreographic step out into the territory of a different dance language, in which the atmosphere is made by the accentuated accumulation of the dance material and the eyes of the audience are overwhelmed by the information on intelligent bodies in movement. Still amazing, the virtuous language of break dance acts as a choreographic parasite on the matrices of the abstract code pertaining to contemporary dance, thus bringing a new aesthetical and methodological breakthrough.
In the semantic field, Acin investigates themes such as masculinity, virtuosity and seduction. Starting from the
search for the hidden in a male body, the special attention has been given to the exploration of the places of fragility and calmness, the topoi of the un-shown.
Oh no! does not run away from the insisting on seduction and skill, while
exposing the hidden and the unpredictable in
the body. In that way it challenges
the wish of the audience
who expect to be charmed by the deft bodies of the
forced to internalize those same movements. This approach is what takes the performance
further into the reassessment of the politics of virtuosity.
Can we replace the concept of desire by the concept of surprise?