The Rite of Spring

Premiered February 2019

About The Rite of Spring:

Saintus’ reworking of The Rite of Spring subverts the original narrative of Nijinsky’s iconic work challenging the notion of a female sacrifice – instead we see characters from Haitian folklore come to life telling their story of ritual, ceremony and celebration.

Performed by Phoenix Dance Theatre’s eight Company Dancers, The Rite of Spring is set in two movements and follows three central figures from Haitian folklore; Ogou a spirit that rules over fire, iron, war and blacksmiths, the Marasa, the divine twins and Damballa the serpent spirit and creator of life. By presenting these narratives Saintus’ work challenges the western stereotypes and dark themes often associated with vodou and instead presents these rituals in a new celebratory light.

Saintus reconsiders the concept of sacrifice originally explored by Nijinsky and instead explores concepts of offerings that are regularly seen in Caribbean culture. The promise in Haitian tradition is the offering one makes during the initiation into the vodou religion and acts as the first section to Saintus’ reworking. From this initial promise the dancers collectively demonstrate the rituals practiced in Haitian philosophy and embody the characteristics of each spirit, not one dancer plays a character throughout, instead each performer articulates different movements informed by the characteristics of the three spirits. A focal point in The Rite of Spring is the central potomitan, a pillar or altar found in front of vodou temples. The dancers make their offerings to the potomitan in hope of evoking the Loa, spirits of Haitian vodou.

The work builds towards the final celebratory ceremony where the performers wait to be overcome by the female spirit Erzuli. Who will be chosen?

The Rite of Spring is being performed to a recording of Le Sacre Du Printemps performed by The Cleveland Orchestra.

The Rite of Spring is in association with Opera North.

Gallery

Press

“a gripping, at times beautiful spectacle”

— The Times

“Visually compelling ”

— The Yorkshire Post

“staggeringly good, filled to the brim with danger, tension and excitement”

— British Theatre Guide

“Urgent and spiritually charged ”

— Bachtrack