The Merriam-Webster dictionary has several definitions of faith including “something that is believed, especially with strong conviction”, “complete trust”, “belief and trust in and loyalty to God”, as well as “a firm belief in something for which there is no proof”. It is totally irrational to base one’s life on something which cannot be established as a fact; it is illogical to establish a raison d’être on something which is all things to all men. Yet for many people in all parts of the world faith is an intrinsic part of their very being. Europe was controlled for centuries by a faith imposed by the Catholic church. But do people really believe or do they just follow, or be forced to follow the local doctrine?
Kierkegaard, the Danish philosopher established the idea of “a leap of faith” which described the need for people to have some sort of external belief, no matter how irrational or unproven it was. But faith is not limited to or confined by religion or spirituality – there are those who firmly believe that Donald Trump will make a good president.
Faith, Club Guy & Roni’s latest offering in their Human Odyssey series places all these ideas and principles in a multi-national melting pot and gives them a rigorous stir. The result is a remarkable piece of theatre, conceived and choreographed by Guy Weizman, Roni Haver and Khalid Benghrib which is invigorating, stimulating and not least, provocative.
Although Faith explores all beliefs in all contexts there is very much a North African bias to which the music of Gnawa is central. Rooted in sub-Saharan African spiritual traditions its percussive rhythms are influenced by the legacy of black enslavement over the centuries. But Faith is much more than that. It is whirling kaleidoscope of musical and cultural influences from around the world which the nine dancers and four musicians explore in this remarkable, unrelenting work.
Visually the piece is stunning, based around five huge slabs which appear to be concrete. Often bathed in swirling smoke the slabs are raised and lowered on wires. This setting, along with beautiful lighting and incessant, mainly percussive music provides a sensory feast.
All the performers are dressed the same with hooded, flimsy beige chiffon costumes. Central to the piece is a woman who carries in her arms a non-descript, very hairy “baby”. She also provides some incredible and very powerful vocal input. This woman and her “baby” at times are presented, as Mary with the infant Jesus while the dancers knelt at her feet. The culmination of the piece involves the “baby” finally being passed around and adored by the company who, by this time are all wearing what appeared to be a noose around the necks. Powerful stuff and highly recommended. Michael Hasted 9th November 2024
Faith continue on tour until 22nd December
