Reviews and Comments
‘Next was Ana Barbour’s Tuning, a solo that became more of a duet with a very unusually gratifying prop. Set to the soundscape of a chirruping, rustling forest, Barbour dances with a green rug. But not just any green rug, mind you: the most textured, intricate and visually interesting rug I have ever seen. Perhaps the reason it was so engaging, though, was that it was so well manipulated. Every movement choreographed and acute, I became aware of each shiver, roll and drag. Add to this the incredible performative strength of Barbour herself, and you have an amazingly engaging visual experience.’ Erin Johnson on Tuning 25th September 2013. http://www.bachtrack.com/review-lion-unicorn-golive-festival-2013
‘In String, a cheeky, sassy and playful Ana Barbour, tip-toed across the stage to the perky plucking notes from musician Malcolm Atkins, filling the space with personality. Barbour worked her oversized ball of string as if it was the most beautifully smelling, tasting and looking trophy in a simple structure of object play, performed with a certain charm and sophistication, which just worked.’ Rebecca Nice on DEC ‘Luminous Shadows’ June 2013
‘Coming from a long involvement with Butoh, Ana Barbour has the ability to use gesture and stillness, the slightest movement of hand or eye can carry immense weight. This gives her dance an almost infinite palate of expression.’ Paul Medley on DEC Luminous Shadows 2013
‘Ana’s combination of superb technique, a strong stage presence and an exceptional improvisational intelligence made her a treat to watch all evening.’ Andy Solway On Performance at Cohesion Festival 2011. Pegasus Theatre
‘It may be my age but I particularly enjoyed the exploration of feeling older and less flexible. In fact, of course, you have huge flexibility and I really enjoyed the clarity of movement and control. I particularly enjoyed your face – an intriguing combination of playfulness and trepidation. […] I loved the extraordinary added detail the film offered (the weave in the material of your dress as it moved to your breathing was beautiful to watch on film but hard to see on stage for example).’
‘Really enjoyed your piece at Pegasus. I thought that it was really in a league of its own. I thought that the video work at the beginning was particularly compelling. Please let me know when you are doing it again.’ Audience fb from ‘My Time’ in Moving with The Times. Pegasus Theatre. 2011
‘The two shorts were extremely interesting – bold and innovative and clearly part of a continuing creative process’
‘The second films simplicity and playfulness was marvellous, I loved that sense of the foot made uncanny, sometimes grotesque, animal life, body attached body detached. A talking foot, a grounded instrument of communication and movement from one space to another constantly in motion as life goes on. It was visceral, uncomfortable and also humorous, like typewrite keys, or gossips!!! the foot became like a driver or mechanical object as well as a part of the body I loved the sound as well made me question what I was looking at’ Audience feedback from screening of ‘Eye/I’ and ‘footage’ at Abingdon Film Club November 2010
‘Ana Barbour’s dance was beautifully done. The way she span and quivered at the thrust of artist’s brush and hand, her interactions with the other dancers, her awareness of trigger words, her height, the variety and fluidity of her low movements were a delight’ Barbara Berrington , 9th May 2010. On contribution to D.E.C at Ovada, Oxford
‘Baggage, performed by Ana Barbour, was perhaps the most fascinating solo of the night. Barbour presented butoh, a form of physical theatre art originating in post-war Japan. With a simple bag of, well, baggage, Barbour interacts with her load in different ways: carrying it, catching it, embracing it, being engulfed by it, and, eventually, leaving it. Barbour literally enters the bag carrying her load and moves within it, creating a moving, semi-human sculpture. Visually stunning with white costumes and white props against a black floor and background: this is a piece not to be missed.’
Ami V. Shah, 10/01/08 in Daily Info on The Solo’s Project at The Burton Taylor
‘Harmony between movement and music – wonderful dancing –taken to limit of body eg. Each toe inspirational’
‘I was very touched by the performance…moved. The language, variety, shapes, touching of the human soul was remarkable and heart warming. I wish you every success in your future independent and collaborative practice and performance’
‘I loved the Kathak & Odissi influences, helped create very different atmospheres. You really have a gift Ana and the music completely supports you in creating different atmospheres and then turning on a sixpence and changing completely – like when you started singing.
Great use of your face – quite scary, like when you nearly popped the balloon, I was really quite scared of you then, and then when you smiled I found myself smiling too. You take the audience with you, Ana.
Was very disappointed when it ended and slightly startled to find myself where I was. ‘
Some Audience members on ‘Pierrot’ in performance at Brookes 2008
‘a very imaginative piece with extraordinary performances and an intense soundtrack’
Oxford Times on Borderlands 2007