Interview by Inesa Vėlavičiūtė

New to the International Festival Fringe’s scene, Yucca Dance presents In the Round – a captivating dance theatre piece that explores the universal symbolism of circles and perpetual cycles. Drawing inspiration from nature, spiritual beliefs, and modern life, the performance weaves together diverse cultural interpretations of these timeless motifs. I talk with collaborators Yuxi Jiang and Luca Vaccari about the inspirations, challenges, and unique artistic elements that bring In the Round to life.

Q: How did the two of you begin collaborating on this work? 

L: We met at a party and instantly clicked. Our creative partnership grew from that social connection – we had a great dance together, and later, Yuxi asked if I wanted to collaborate on a piece.

Y: I texted Luca around Christmas last year, and we started working on the first version of In the Round at the end of February. This work-in-progress premiered in March 2024 at Dance Base’s Scratch Night in Edinburgh.

Q: What inspired your fascination with circles and led you to create a piece around this theme?

Y: The inspiration came from my master’s research on Chinese folk dance, particularly Tibetan dance circles. Circles are fundamental in ancient dances and are deeply tied to Tibetan beliefs about life and Buddhism. Although my original work, which developed during those studies in 2018-2021, couldn’t be performed due to the pandemic, I wanted to continue exploring this theme in a new way, collaborating with Luca.  

Q: How did the piece evolve from its work-in-progress sharing at Dance Base?

Y: Initially, we didn’t have Fringe in mind. We followed creative instincts and, after receiving positive feedback on the initial fifteen minute performance, decided to expand it for the festival, adding new sections. One is called “Butter” named after the song by the Japanese pop duo Dip in the Pool. The band’s music resonated with me, especially this song, with its narrative and glitchy, robotic feel. We used it to reflect the fragmented nature of modern life, contrasting with the spiritual cycles. 

L: “Butter” symbolises the rat race we’ve created for ourselves. We’re these soft, round, squishy beings trapped in a world of straight, angular lines – the streets, roads, architecture. The section highlights this tension, emphasizing how disconnected we’ve become from our natural, circular rhythms.

Q: How do you personally interpret the symbolism of circles?

L: For me, circles symbolise the cycles of behaviour passed down through generations. I’ve reflected on how my grandparents influenced my parents, how that has impacted me, and how I influence those around me. The overlapping circles connect across generations, forming a larger cycle.

Y:  I see circles in life’s routines – day and night, seasons, and patterns that repeat even when we try to break free. Our choreography loops movements, each time with subtle changes, reflecting the idea that while life has its limitations, there are endless possibilities within those cycles.

Q: How do the film and verbatim audio interviews contribute to the narrative of your performance?

L: We want the audience to reflect on their own life experiences and recognise the circular patterns and cycles that exist within their family, culture, or humanity as a whole. We use interviews in multiple languages, sourced from our friends and family, to create a soundscape that holds up a mirror to the audience, inviting them to see themselves in the narrative. The familiar sounds create an emotional connection, making the themes more personal.

Y: The dance film adds another dimension, breaking the constraints of the stage and offering a multidimensional perspective. The camera work circulates with us, expanding the stage space to a different world, creating a broader, more immersive experience.

L: The black-and-white film also contrasts with the warm, modern stage lightning, transporting the audience to a different season and space, adding depth to the cyclical themes.

Q: What challenges or opportunities occurred while navigating the elements of two distinct dance styles – Chinese and Western contemporary?

L: It was a great learning experience. We had to navigate our different dance techniques, trying to replicate each other’s movements, but the actual challenge was finding a common language to communicate them to each other. It reminded us that there’s no single way to dance well. Instead of focusing strictly on technique, we prioritised creating a natural link between our styles.

Y: We combined our strengths to find similarities between our training backgrounds. Luca’s fluidity aligns with the aesthetics of Chinese dance, so we created fluid transitions. 

L: We absorbed each other’s styles like sponges. I’ve noticed myself incorporating Yuxi’s moves even when improvising alone. There’s a mutual respect and appreciation for each other’s craft. I admire how Yuxi moves, and imitation is a form of flattery. We both want to learn from each other.

Q: Each of you has a solo part in the performance. What meanings do they carry?

Y: My solo is rooted in Tibetan dance tradition, focusing on its circularity and spirituality. Through my interpretation, I create a ritual of removing my headdress, transitioning from a powerful Buddha figure to an ordinary person, exploring themes of enlightenment and the search for life’s meaning.  

L: Inspired by astrology, my solo represents the life stages of a Scorpio through different animals – from spider to lizard, snake, eagle, wolf, and finally, the phoenix, representing death and rebirth. They guide my movements, allowing me to explore these forms in an animalistic way, resonating with my Scorpio identity.

Q: How has the audience reacted to the performance so far? 

L: The response has been very positive. A common piece of feedback is how well we move together, despite our very different dance backgrounds. People are intrigued by how we’ve managed to meet in the middle, blending our distinct styles.

Y: Audiences feel a deep connection when they hear their language in the performance. We end In the Round with the thought: ‘It is your experience along the circular trail that makes both the beginning and the end matter.’ 

In the Round Production Credits 

Choreographers and Performers: Yuxi Jiang, Luca Vaccari

Videographer/Photographer: Siyao Li

Graphic Designer/Sound Editor: Jonas Nölle

Screen Dance Videographer: Gunnar Bjercke

Technician: David Jay

Music: Dip in The Pool

Yuxi Jiang is an Edinburgh-based dancer, choreographer, and creative director. She specialises in Chinese classical and folk dance, as well as contemporary dance. 

Luca Vaccari is a dancer, choreographer and freelance performer, specialising in contemporary dance, ballet and contact improvisation. Based Edinburgh, he is also an associate artist for the International Schools Theatre Association. 

*

This interview is published by Traditional Dance Forum of Scotland as part of our Traditional Dance Criticism Course, led by dance writer and editor Róisín O’Brien and supported by dance scholar and editor Dr Wendy Timmons.

Inesa Vėlavičiūtė is one of the six applicants, alongside Vassia Bouchagiar-Walker, Yuxi Jiang, Catherine Coutts, Alena Shmakova, Inesa Vėlavičiūtė and Yanmei Bowie, who were selected to participate in this pilot edition of the course in 2024.

In the Round was performed at Greenside, Edinburgh 19-25 August 2024 as part of International Festival Fringe. It was one of the shows with trad dance roots across the Edinburgh’s summer festivals we hand-picked to review. Images courtesy of Yucca Dance and Siyao.

Please find further details about our #traddance campaign at Edinburgh summer festivals here