Josh Beamish and MOVE: the company merge pop culture and contemporary dance in Sold Doubt.

Credit: supplied

ARTS: Dance fest sharpens its pop culture edge

Well before television behemoths like So You Think You Can Dance made rhythm and movement an easily digestible commodity, Dancing on the Edge (DOTE) was the only showcase of its kind in Vancouver for contemporary dancers, companies, and choreographers. Now in its 22nd year, DOTE has made a name for itself as one of the country’s most innovative platforms for contemporary artists, offering 20 performances over 11 days.

Josh Beamish, founding artistic director of MOVE: the company, is an award-winning dancer and choreographer. He spoke with WE about his highly anticipated new show, Sold Doubt, a humorous examination of pop culture and celebrity set to the music of rock band No Doubt.

Was there a particular incident that inspired the concept of Sold Doubt?
It began as an attempt to choreograph a dance as if I were a songwriter. The work pokes fun at many of the difficulties that I’ve faced in the contemporary dance world. It laments the pain of the “step touch” dance job that pays the bills, and plays on multiple notions of selling out as an artist. [No Doubt’s] Tragic Kingdom was also the first album I owned, back in 1997. Someone gave it to me as a gift.

Sold Doubt seems equal parts social and pop culture commentary.
This intersection is one that I am at odds with constantly. I never watch TV and don’t even have cable and yet every time I buy groceries I’m faced with the latest developments in the lives of the cast of The Hills. I never seen an episode, but because I buy bread, I know that there is a girl named Heidi on it. When I look at someone like Britney Spears, I feel sad for her. Even if she wanted another life, she could never have it.

Are you motivated to choreograph pieces that tap into the current trends like So You Think You Can Dance?
I like pop music but I would never choreograph a piece to pop music in its original format without some sense of irony. I don’t watch So You Think You Can Dance.

People often have the perception that dance has to be very serious by nature. Is there opportunity to explore humour and satire in this art form as in others?
I definitely believe that dance can be funny and that satire often presents live theatre’s most hard hitting moments of emotional resonance. For me, the comedy comes from playing against ego and having the performers reveal the vulnerability and self delusion inherent in performing before an audience of friends, family, and strangers.

Why is dance important to you?
Dance is everything to me. My mom was a dancer and my sister is also a dancer. I started dancing when I was two years old, improvising on stage at seven, teaching by 12, and choreographing professionally at 16. Needless to say, there hasn’t been much time for anything else.

Dancing on the Edge runs July 8-18 at various venues. Sold Doubt runs July 9-10 at Vancouver Playhouse (Hamilton at Georgia), 8 p.m. Tickets $22-$26 from 604-689-9026. Visit DancingOnTheEdge.org for complete schedule information.