New production of Pina Bausch’s version of ‘Rite of Spring’ features African dance troupe

One of the 20th century’s greatest choreographic achievements, Pina Bausch’s version of Stravinsky’s “Rite of Spring,” returns to Toronto almost four decades after its first appearance here, in an ambitious production featuring 32 dancers recruited specifically for the purpose from 14 African nations.

Few of these dancers have extensive training in ballet or Western contemporary dance, yet they bring an energy, commitment and degree of individual authenticity to this iconic work that honours its lineage while simultaneously rejuvenating its spirit.

Bausch — known throughout the dance world simply as Pina — died in 2009 at 68. She once famously stated that she was less interested in the way people moved than in what moves people. On this basis alone Bausch would almost certainly have been delighted by what the foundation dedicated to preserving her artistic legacy, in partnership with Senegal’s internationally renowned African contemporary dance centre, École des Sables, has made possible. This iteration of Pina’s “Rite” is likely to become as legendary as the one the German choreographer originally made for her Tanztheater Wuppertal in 1975.

Of course, Stravinsky’s score has a much longer history. Sergei Diaghilev, the Russian impresario who commissioned it in 1913 for his Ballets Russes, famously instructed his artistic collaborators: “Etonne-moi”; “Astonish me.” Stravinsky more than obliged.

His “Sacre du printemps” evoked in almost brutalist musical terms the sacrificial rituals of ancient pagan Russia. As a work of early modernist music it is justly revered. For choreographers, starting with Diaghilev’s protégé and star dancer Vaslav Nijinsky, it has proved at once irresistible and intractable. Choreographers are still drawn like moths to the flame of Stravinsky’s score and almost all get horribly burned. But Bausch did not.

By general consent Bausch’s version is the best we are ever likely to see, for the simple reason she meets Stravinsky on his own terms and delivers choreography so raw and elemental that as an audience member you almost feel part of a ritual rather than observers of a performance. Music and movement become inseparably combined in a work of such visceral power that once the dirt has settled — it is danced on a layer of peat — it can never be forgotten.

Benin-born Germaine Acogny, 78, co-founder in 1998 of École des Sables with her partner of 40 years, Helmut Vogt, is one of Africa’s most influential dance artists. Acogny’s varied international career and exposure to a variety of styles and traditions has enabled her to develop a training system that links African traditions to the broader streams of contemporary dance.

Salomon Bausch, Pina’s son and head of the Bausch Foundation, was struck by the number of applicants from around the world for one of its young artist training grants who wanted to take courses at École des Sables, a self-contained community located in the fishing village of Toubab Dialaw, Senegal, near the capital, Dakar.

At the same time, the foundation’s artistic staff had hatched an unusual plan. What if, instead of agreeing to allow an established dance company to learn and perform Pina Bausch’s “Rite” they were able to assemble a group of dancers dedicated to its performance? And why not from outside Europe?

“It’s so nice to work with people who are simply really committed and interested just in that work,” said Salomon Bausch. “I liked this idea immediately.”

He was able to sit down with Acogny about four years ago while she was performing in Brussels. He offered his proposal.

“I think she was very happily shocked,” said Bausch.

Acogny had met Pina for the first and only time just weeks before the choreographer’s death. Not long afterwards she saw “Rite” performed by the Paris Opera Ballet.

“I said to Helmut. Look it’s so African.” Acogny recalled. “I felt it had this very strong relationship to the earth and the rituals depicted are close to those in Africa.”

Thus, Acogny had no hesitation in accepting the Bausch Foundation’s offer. Apart from the work itself, it fulfilled a personal dream, to assemble a company of African dancers not just from Senegal but from across the continent.

The third crucial partner was Alistair Spalding, long serving head of one of Europe’s leading theatres for dance, London’s Sadler’s Wells, and a personal friend of Pina Bausch.

“Without Alistair this could not have happened,” said Salomon Bausch.

Once the audition notices went out the applications flooded in from across Africa, some 180 of them.

Artistic staff from the foundation responsible for restaging “Rite” attended the three audition sites, not only to assess technical ability but to ensure those selected had the necessary level of commitment and individuality. Although “Rite” is a pure dance work and an ensemble piece, Bausch favoured physical variety and dancers with something to say.

A fortunate 80 of these were then invited to École des Sables where 38 were eventually chosen.

All was progressing well towards a Dakar premiere on March 20, 2020 and an extensive international tour to follow. Then the COVID lockdown order came.

“It was terrible,” says 28-year-old Mozambique-born dancer Vasco Pedro Mirine. “It was so intense with the borders closing and dancers needing to get back to their countries.”

There was a silver lining. A documentary crew was recording the project. At Salomon Bausch’s suggestion and very short notice they filmed the cast performing the work on a beach. The result was “Dancing at Dusk — A Moment with Pina Bausch’s The Rite of Spring.” It has since been streamed and screened globally to great acclaim. Some of the profits were directed to helping cast members as they waited for the pandemic to ease and the project to resume.

That began more than a year ago and to date this unique staging of “Rite” has toured the world. Montreal and Toronto are currently its only scheduled Canadian stops.

“Rite” is not a long work; little more than 30 minutes. To open the performance Germaine Acogny and longtime Bausch muse Malou Airaudo, the original “Chosen One” in “Rite”, have collaborated on a duet that symbolizes through movement metaphors the meeting of dance traditions. They call it “common grounds[s]”.

Says Acogny: “I feel Pina is there all the time, watching and protecting us.”

“The Rite of Spring / common ground[s]”; Oct. 15, Meridian Hall, 1 Front Street E.; www.TOlive.com, by email at [email protected] or phone 416-366-7723 or 1-800-708-6754.

Clarification — Oct. 12, 2022: Montreal and Toronto are currently the only scheduled Canadian stops for Pina Bausch’s version of Stravinsky’s “Rite of Spring.”

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