The French choreographic collective (LA)HORDE premiered their latest work, Bring Your Own, at the Southbank Centre’s Queen Elizabeth Hall, in London, last week. This world premiere marked a collaboration between (LA)HORDE and the UK’s renowned contemporary dance company, Rambert located in the Southbank. The performance was enigmatic, sensual and very beautiful, words that describe (LA)HORDE’s overall oeuvre and practice. Actor James Norton was among the audience at the premiere.

(LA)HORDE is a French artistic collective founded in 2013 by Marine Brutti, Jonathan Debrouwer, and Arthur Harel who have pioneered new modes of expressions in France and beyond. Since 2019, they have served as the artistic directors of the Ballet national de Marseille, one of France’s leading contemporary dance institutions. They have also led fantastic collaborations with Madonna and Lucinda Childs, among other superstars. To coincide with Art Basel Miami Beach last year, (LA)HORDE also showcased a mesmerising video at the Bass Museum.

Raw, visceral, and unapologetically honest, Bring Your Own offered London audiences an intimate experience with exceptional, youthful, daring dancers. Hop(e)storm, created for Rambert’s dancers, opened alongside two restagings of (LA)HORDE’s most significant pieces: Weather is Sweet and Room with a View.

“Permanent dance companies in Europe today are precious spaces, true heterotopias. Working with Rambert, our first collaboration with another repertoire company, has reaffirmed how these structures create opportunities to work with exceptional dancers in a collective creative process. Rambert reflects our core values of diversity and inclusion, with dancers who bring extraordinary generosity to every step of the artistic journey. (La)Horde Marine Brutti, Jonathan Debrouwer, Arthur Harel said about working in-situ with Rambert.

Hop(e)storm infuses the vibrant rhythms and dynamic energy of Lindy Hop with a post-internet rave aesthetic, reigniting its message of equality and liberation. The contrasts between the music and the almost-traditional in unison choreography instilled so much energy and beauty in the viewer’s eye.

Shifting from fluid grace to swagger, defiance, and bold bravado, the performance captivates with its emotional intensity and multiple references to visual arts, from Delacroix’s Liberté guidant le peuple to Matisse’s La Danse.

What begins gently and tentatively builds into raw, combative energy through the pumping music, before uniting into a powerful, synchronised ensemble, a collective heartbeat on stage. As the piece winds down, movement softens, giving way to music, accompanied by the humming and eventual choral voices of the company as they exit, a landmark of (LA)HORDE manifesting its prowess, from absolute silent objects to coming back to humanity.

A highlight is the slow-mo tableau which sees over ten dancers slowly recreating a scene recalling demonstrations and rebellious attitude. Yes, through its powerful performances and stage presence, (LA)HORDE, has the power to change society.

Rarely do viewers feel such levels of adrelanine and joy. The performance was met with a standing ovation and for all the right reasons: incredible talent, fantastic innovation and a refreshing sense of togetherness.

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