#algger

Sadly, Algger didn’t make it to the SDC finals. I’m sure his performance would have been bizarre and overproduced, since the finals always are, but I still would have liked to see it. As befitting his stature, he battled valiantly to the end, delivering one last surprise (krump???). I respect Algger’s indomitable spirit. Considering the SDC trajectories of his close collaborators and Hello Dance comrades, Derek and ZIV, this was as foreseeable as it is regrettable. 

SDC is a notoriously uncharitable venue for both choreographers and jazz dancers, so I’m proud of Algger for making it as far as he did! I’m so glad his talents will be shared with a wider audience because of his participation on the program. I am a bit disappointed that we never got to see the full force of Algger’s choreographic skills– perhaps his introduction dance ‘I am AngAng’ was the closest we have– but there were several very beautiful, entertaining, and successful pieces presented nonetheless. It was a delight to see Algger interact creatively with a new set of dancers, choreographers, and aesthetic sensibilities. 

The show didn’t properly appreciate Algger’s allure. But you do, don’t you, dear reader? If you liked Algger on SDC, I have compiled this handy guide to some of his other incredible choreographies. 

Slow Down → Worth It

If you loved the first group piece Algger performed alongside his Hello Dance and O-Dog comrades: You have excellent taste. This technique of matching his characteristically madcap choreography with a slower tempo of song is something that Algger has kept coming back to over the course of his career, usually to excellent effect. Most recent was his surprisingly thrilling Worth It choreography, which is all the more exciting against the languid backdrop of the music.

2022 has been such a year of revival for Algger, he’s really coming into his potential. Lucky for us! I will write thousands of words about Worth It someday, but for now, I’ll just mention that it’s a top 5 all-time best Algger piece. Everyone should see it, repeatedly, but especially if you liked his Slow Down choreography, in which he plays with some similar ideas, including elements of animation and contemporary dance. 

Close viewers will also notice several moves that appeared in Lonely Warrior, though interpreted differently, which is lovely and fascinating to watch.

Dong was also incredible in this performance. He’s really great, and he deserved much more screentime on SDC! He features in Hello Dance’s most popular video on Youtube, with Jen.

Dong has an entrancingly silky, tactile texture to his dance, which contrasts beautifully with Algger’s molten and untouchable style when they perform together. You should watch this handsome Dong choreography (featuring Algger, ZIV, and Derek!) to really experience his majesty.

I am AngAng → Remix (2019)

This introductory choreography is full of quintessential Algger features: fast tempo, thick with sound effects, lip sync, threat, and campy flirtation. If this iconic performance drew you in, you have to see Algger’s other most famous choreography, an edgy homage to his influences and collaborators, the dance/pop group Tokyo Gegegay.

There are several similar moves between the two choreographies, though the Tokyo Gegegay remix is much older, so one can also appreciate Algger’s evolution as a choreographer and dancer.

There are clawed hand details, animation-style movements, extraordinarily fast musicality, and just a touch of that bizarre sexiness that makes Yibo’s face go:

The face of a man who's feeling very heterosexual, probably

For completionists, you should really also watch this iteration of the same “I am AngAng” choreography, which is the stronger version, I think. It has more power, it’s cleaner, and the vibe overall is just better. 

Dans la maison (Thème) -> 不屑完美

I always love an Algger-ZIV joint. The two of them have such perfectly complementary aesthetic sensibilities. Horny pansexual imp + gothic gender mystery is a top-tier combination wherever it arises, and these two do it well. Of course, this performance was a bit toned down for the SDC audience and production sensibility. It was ZIV who delivered my favorite moment of the trio with Algger, ZIV, and Siwen: I love his fluttery arm wave, so delicate and light.

One of the best moments of the season, really! If you liked this collab but were hoping for a bit more charge, watch this trio dance with Algger, ZIV, and Derek. It’s sillier, bigger, more conceptually varied, and, of course, gayer. The interweaving of Algger’s ineffable details with ZIV’s long, languid power is very good in this performance. There’s also a charming group design that takes some of the same ideas of the SDC piece in a different direction.

Legend of the Demon Cat -> Black Cat

If this was your favorite of Algger’s performances on SDC: Why? Seriously, this choreography was such a heartbreak to watch. Kyoka and Algger are two of the most impressive dancers alive right now, but this collaboration was ass. Maybe you just want to see Algger dance like a cat some more? In that case, here’s a cute little cat dance.

Bonus: my favorite Kyoka battle, with her partner Maika. She’s so cool.

Les Twins are extraordinary here as well– it’s just a great battle all around.

It’s time to discuss Red Rapture. When I reach for words to describe this piece, I keep coming back to magisterial. It’s not quite an appropriate descriptor in a literal sense, but this choreography feels overwhelmingly authoritative and complete nonetheless. Certainly, the emotional center of this piece is Algger’s leading energy as he lords over the ensemble with a sense of expertise or mastery. So too is there a feeling of historical fiction, anachronism, or place-out-of-time-ness. 

On the subject of Algger as magister, this work opens with a bit of expert insight in the form of a title card, which reads:

In order to be despicable, prey upon other people You can escape the people of the world, but you can’t escape the customs of the world <<--Red Rapture>>

To begin, I should talk about Algger’s most recent popular dance performance: his duet with Lucas on Street Dance of China.

It is beautiful and imaginative, yet barely scratches the surface of Algger’s potential as a choreographer and dancer. The theme of the challenge was “parallel world” and Algger made a clever interpretation that meshes the mundane with the speculative. Instead of an alternate universe or other paranormal phenomenon, the dance depicts a person’s relationship with their shadow. At the highest conceptual level, the work is a paean to individuals' relationship with their own physical shadows, and the spiritual properties of shadow as companion. 

Perhaps there is an interpretation of this dance in which the shadow is not the physical 2D photonic structure (or its archetypal companion role), but the psychoanalytic concept of the abjected self, with its base drives and repressed needs. No, surely that interpretation would be just my own projection of unfulfilled desire when it comes to this dance. Something that is missing from this dance, for me, is the heft and depth that usually typify Algger’s choreography. When I watch Algger dance, I want to feel my heart race in fear. I want to feel the dangerous atmosphere he creates so gracefully. Of course, it’s perfectly understandable to take a lighter approach instead here, given the broadcasting considerations for SDC. But I don’t have to like it! Still, I think it will draw more fans toward Algger and grow our community, so I can’t be too harsh. 

The elusive, fleeting companionship between a person and their shadow is represented physically through the narrative of the dance. In the story, a person enters the two-dimensional world of the shadow and finds both a splendid environment and a delightful friend. Algger’s explanation of being inspired by perceptual barriers between physical dimensions is reminiscent of the the chapter describing the manufacture of sophons in the novel Three Body by Liu Cixin, which similarly explores the relationship between physical dimensionality and experiential complexity. 

The initial tableau is a genius design. It is visually striking and contains multiple layers of connotation. The backdrop suggests a cityscape, while lights projecting onto the stage form the illusion of a crosswalk. Foreshadowing the themes of the dance, the crosswalk floor– the foundation upon which the dancers play– is brought into existence only by the placement of shadows. As Algger walks on one plane, Lucas mirrors his movements, walking against gravity. The dancers’ roles here are clearly depicted. Algger, who plays the 2D shadow character, casts a strong shadow from sharp key light, while Lucas casts none. The positioning creates an optical illusion, or perceptual shift, where a viewer can, by turns, see two different orientations of a single real moment. Is Algger upright, or is Lucas? It’s a matter of perception, a visceral illustration of the subjectivity, mutability, and distortion that form the barriers between physical planes. Altogether, the image pivots around a dizzying number of physical and conceptual axes. The ideas interact and turn in an elaborate system, like the arcs and globes of an orrery.

In just a few measures, the dance builds to its first peak: a lift. As a matter of technique, the smoothness of this move really is a credit to Lucas, since it’s his momentum and velocity control that brings such a beautiful fluidity to the lift as it twists and rolls. 

Next, as the shadow, Algger gets the idea to flatten Lucas and unfurl him within the 2D world. The flattening move is cute and well timed. The unfurling move, in which Lucas, upside down, is orchestrated by Algger to rotate and swivel in many directions, is visually fascinating, fluent, and clean. 

Regarding the various breaking moves, what I will say is that Algger has earned every right to be fearless. Lucas, of course, is exceptional. They both have immense versatility that expands the potential that their collaboration holds. The main scene of the story, where Lucas and his shadow play together in 2D, depicts a caring friendship. There is a delightful sequence showing how their relationship progresses. First, there is a split screen effect with Algger voguing downstage and Lucas breaking upstage. Here, the shapes of the two dancers’ bodies reverberate, but don’t quite mimic each other. The shapes of the dancers’ bodies is a metaphor for the way a shadow can alter and warp the shape into which it’s cast, which is in turn a metaphor for unfamiliarity, the archetypal experience of starting to make a new friend. Lucas spins his body: Algger rolls his hands. 

Then, the two smile at each other and begin to dance the same steps. Their synchronization is good here, especially for two dancers who do not have much experience as a duo. This is the time, which occurs in any friendship, when the two people discover how much they have in common and what they like to do together. It is a cute, giddy sequence.

Finally, the logic of the dance is drawn neither by refraction nor by synchronization. They now dance synergistically, heightening the exuberant energy. These are two characters who have learned to grow, as themselves, together. Each exerts pressure and provides support, helping their friend to reach new heights. It is a complete and well executed narrative arc. My favorite part is when Lucas somersaults over Algger’s leg, extended in vivacious arabesque.

Interspersed in this storyline is imagery about exciting new experiences, crossing boundaries of perception and dimensionality. Lucas is dazzled by the sights of the parallel 2D world and a ground move suggests a panoramic rotation, as if to bring the 3D experience of a sphere to the 2D world. As they turn, Algger and Lucas look almost flat, like cardboard cutouts. 

Familiarity and fantasticality mingle as the denouement approaches. In a shoulder stand, Algger uses his feet to again mimic and distort the movements of Lucas’s shoulders. This time, the pairing suggests reflection– a kind of loyal, inverted recreation that the shadow makes of the one who casts it. Lucas swivels at the waist: Algger twirls his legs as the knee. 

At the climax, Lucas catches air vaulting over Alggger’s back, flowing into an exuberant freeze. The friends say farewell, and Lucas steps back into his native dimension. The final image is of the two walking in the city together again, bathed in blue light, as if to suggest an entire day has passed in joyful companionship. Now we see that first image from the other perspective, with the dancers’ positions literally switched to illustrate the paradigm shift. Notice, Lucas’s body doesn’t cast a shadow, unlike Algger at the beginning. Because his shadow, his eternal friend and companion, is embodied by Algger. 

Here I have described the main themes and connotations contained in the dance. Overall, it is a complex and heartfelt story told in a charming, guileless mood. As a choreographer, Algger’s aesthetic is often dark, with a luscious density, but this choreography is sprightly, dazzling. The story beats go quickly, and a boyish gentleness replaces Algger’s typical aggression and bravado. It is an ebullient, carefree dance, while also being developed and complete. Algger challenged himself to create a minimalistic and soft piece. As a dance routine in general, or on SDC, this one is easily a 10/10. From the excellent baseline of Algger himself, though, it scores an 8/10 for me. I loved the mood, the artistry with regards to elements of production like costume and lighting, and the complex connotations. But I am someone who came to adore Algger for his succulent, edgy choreography as part of Hello Dance, so it felt sluggish and generic at times. Still, an incredibly enjoyable watch and a virtuosic work in its own right. 

Yibo’s face captured my reaction well, so here’s one for the girlies: 

This choreography has quite a profound theme: it is about being goth, hot, and gay as fuck. The song is a remix of a unique Tokyo Gegegay creation, the exact details of which are fairly complicated, so I will save that discussion for the end. It is a futuristic, cinematic song with a prominent bass beat, fast tempo, and plenty of sound effects. In this performance, the dancers are clad all in black with dark lipstick, and red bar lights accent the otherwise unidimensional, dim white wash. Algger is wearing the skirt-over-pants and leather collar that are emblematic of his costuming style in this time period. Overall, the vibe is of some perversely alluring hell. 

The structural arc of this composition is a bit unusual! The initial part, making up about ⅔ of the dance, is aggressive and a bit scary. Algger’s facial expressions are threatening and he stares forcefully ahead, occasionally grimacing or opening his eyes wide to heighten the effect. These character decisions synergize with the monstrous movements and shapes of the dance itself. In this first section, there is a lot of dynamic movement on the vertical axis of the stage, as well as a notable approach along the Z axis toward the camera. By contrast, the final third, which constitutes the climax of the piece, is fairly still, and movements are concentrated in the upper half of the body. The effect is like an anthropological expedition into studying the culture of these lovely, demonic beings. One first comes to understand their more obvious features, and the true nature of their intricate power only appears after sufficient introduction. Fascinatingly, the first part contains more imagery concerning nonhuman biology or anatomy, but it is the second part that elevates the choreography to otherworldliness. 

Visual representations of monstrous identity abound in this piece. In the first image of this dance, Algger contorts his face into a tetanic grimace. In such a prettyboy-dominated world, this is a choice I respect– an unappealing, off-putting face that dares you to feel the seduction of the work, despite its ghastly look. 

Early in the choreography, the dancers approach the audience, stomping and quickly whirling both hands with the palms out. It’s quite difficult to achieve smooth, symmetrical, complete rotation like this, especially given the positioning of the upper arm. This is an aggressive move, and the dancers almost seem to menace the viewer. Even in a recording, you can feel the energy crashing into you like a wave front. 

Indeed, there are many monster shapes in this choreography. The imagery appears both in static arrangements, as in hands formed into claws, and in inhuman movements along unusual vectors. Throughout, Algger tends to maintain a fierce gaze toward the viewer, like a creature defending its lair– or, perhaps, its brood. I like this move from early in the dance,  accented by a terrifying glower, which combines gradient and incremental types of motion. 

The smooth downward press has such an implacability, like a hydraulic vice. In contrast, the stepwise movements of the hands almost resemble something crumpling, or yielding to an immense weight. It is a heavy, powerful visual, and the hunched torso position creates such a feeling of enclosure, of something towering over you. 

The most literal expression of monster shapes comes right before the short break that splits the two parts of this choreography, as if to express a final transformation: 

The clawed hands are a nice touch, and the movement closely matches a very fast stylistic stutter in the music. It must have been completely hallucinatory to watch in person. Then, a hand design that is common to urban dance and usually used to denote a crown is twisted to form demons’ horns. 

In the latter part of the choreography, identifiable monster anatomy gives way for a more abstract or surrealist depiction. Instead of “that’s not the shapes humans are,” one begins to think “humans don’t move like that.” Angles and vectors are precisely replicated, limbs move with an eerie inertia, joints turn more times than they should. 

I just really love this design

The shapes here produce such a unique and exciting impression. The energy of this sequence closely matches the source material (more on that in a bit), but it is still unique to Algger and cohesive with the vision of this piece. The hand shape here resembles a traditional Catholic gesture of blessing, almost literally co-imbricated with the darker gestures of the dance, a tense and contradictory relationship that is itself traditional within the goth aesthetic. What really captures me about this moment is how solid the square shape feels, and the lovely juxtaposition of delicately arranged hands with the odd and geometric movements of the arms and wrists. 

Illusion is a powerful tool for a choreographer, and this one is executed beautifully. Pushed along by the sharp sound effect cue, each angle here appears with a quick precision. How can a wrist turn four times in succession like that? There is an answer that exists in reality, but it’s really better to let the monstrous magic envelop you: The wrist turns like that because it belongs to something nonhuman, supernatural. 

This swirling crown design ends the dance. It feels almost plasmatic as it refers back to the solid, horned crown design that closes the first section. Perhaps it doesn’t call to mind any common archetypes of creature shape, but it is unmistakable as an otherworldly icon; a cloud of dark energy, perhaps, or some kind of twisted halo. As a matter of elevation, it is an electrifying consummation of both the connotations of otherworldliness and the serpentine hand-tracks that characterize this piece. 

My favorite moment from this choreography is this quick twirling wrist move, which serves as a rounded contrast to the flat, angular, slicing motions that come before it. Upon first glance, it is a fulgent and pushy design, remarkable for its dizzying speed. But what I really love about it is the extra layer of expression that Algger gives to this already stunning design. Watch closely:  

The fluttering hands are first a bit stiff as they begin to orbit each other, and then– as the wrists open up in their second rotation, so too do the digits, which take on a softly splayed shape. Delicate moments like this, nestled within powerful images, give the choreography its depth and allure. 

To fully understand this piece, it is instructive to pay close attention to the source material, a Tokyo Gegegay performance on a Japanese variety show in 2016. Reportedly, the present production is a re-recording of choreography that Algger designed in that same year. Perhaps that has something to do with why this piece lacks the complexity and balance that is characteristic of his later work. Still, one senses a depth of devotion: In Algger’s choreography, many of the moves by Tokyo Gegegay are referenced, paraphrased, twisted, elaborated, irradiated. 

Tokyo Gegegay is a very charming music and dance group that is a significant artistic influence for Algger. They rose to prominence through a dancing competition show, DANCE@HERO. Tokyo Gegegay’s productions are kooky and frightening, a combination that works much better than you’d think. It’s also a group that’s very, very gay. Unsurprisingly. I strongly relate to Mikey’s lust for playing with gender and also his need to sometimes just say ‘gay’ really loud. As a sheltered Western homo, I wonder what it’s like to be gay or genderqueer or trans in East Asia, especially China. I feel immense compassion and solidarity with people like us, all over the world. Though it’s less overtly oppressive than it could be, even I live under a state that would strongly prefer that I not exist anymore. I hope things will get better for us, though I know for some people, they won’t. Okay, time to stop being maudlin on main! In conclusion: Tokyo Gegegay is a very fun citypop/dance group, and if you like those things, or gender, surrealist performance art, or Algger, or being gay, they are worth checking out! Mikey is an icon, and Bow is my favorite. 

The original source of this remix (as far as I can tell) is a New Year’s performance by Tokyo Gegegay on Japan’s Dance Performance from 2016. It’s fun and silly and celebratory and strange, and several of the designs in this performance are directly referenced by Algger’s choreography. Algger's work is original, but it is undoubtedly a fervent homage.

A notable feature of both choreographies is flat hands that swish through the air or whirl above the head. They appear as a central motif in both performances, acting as a throughline that arises repeatedly, given different context and connotation each time. 

Within the exuberant atmosphere of a Tokyo Gegegay performance, this “monster hands” shape takes on a different mood. Softened by the group’s giddy charm and its cute sailor costumes, this very similar movement takes on a significantly more playful tone than in Algger’s performance. Still, this iteration shares that same exhilarating, attractive threat in common with the move under Algger’s direction. 

Bow is so cute here. I love this moment. As in Algger’s choreography, this image marks a shift in the dance, this time a literal spatial shift. I think it’s interesting that the moment is an intentional rest, a slowing that is meant for laughs in the Tokyo Gegegay performance, while the Hello Dance version blends it more smoothly with the surrounding ideas and emotional tone. Of course, Tokyo Gegegay’s performance is meant to be more humorous, and each approach works well in its place. I love the gravity of Bow’s movements here; you really feel the power of each step, even as she plays it for a joke. 

There are even more elements to the Tokyo Gegegay performance that are referenced by Algger, such as the triangle hands shape that mimics the group’s logo, or the gesture of benediction being applied in alien contexts. 

So, too, are there notable points of departure, as in the denouement of Tokyo Gegegay’s choreography, which becomes much more lively and powerful, with dramatic leg movements incorporated as well, that heighten the excitement of this effervescent piece. In contrast, Algger’s heavy, menacing work ensnares the viewer within its atmosphere, remaining static with regards to the vertical axis of the stage as it comes to an end.  

The music for this Tokyo Gegegay performance appears to be an original mix of several songs and sound effects. A major component is an existing remix of Not So Hard by Switch. As an ekphrastic work, Algger’s piece is also in conversation with another choreography from Mikey in his capacity as GD5 dance studio master. 

Mikey has choreographed to this simple remix at GH5 dance studio, and that choreography includes concepts, like this over-the-shoulder design, that appear in Algger’s choreography but not the Japan’s Dance Performance show, as well as some concepts that occur in all three. Mikey’s presence has an incredible magnetic force here, his confident poise well-earned.

I might… I might be TOO gay…

The provenance of the music for this dance of Algger's is rather convoluted, then: it is a remix of a remix of a remix. For Algger’s piece, the BPM is raised significantly, from about 135 BPM to 165, and cut to its most impactful sequence due to the shorter length of the choreography. Increasing the BPM feels like a flex, and the movements here are very fast, but still clean. The higher tempo of this piece also lends itself to the greater aggression of Algger’s work. Temporal compression here creates almost an anxiety in comparison to the loose and free-flowing Tokyo Gegegay performance. 

Urgent missive: Have you seen this? 

Power and precision

The music for this work is Lonely Warrior (孤勇者) by Eason Chan (陳奕迅). I’m given to understand that the song has something to do with the League of Legends setting? Or Arcane’s setting specifically? I completely adore Algger, but not enough to watch Arcane @___@. I get the impression that there may be imagery specific to the story of Arcane, or connotations I’m missing because of that, so tell me all about it in the notes! The lyrics tell a mawkish story, addressed to an object of yearning, within a high-stakes world of violent, desperate conflict. The music itself is fine! But it feels a little soulless to me. I just don’t love this song. 

Maybe the music doesn’t play to my personal taste, but Algger looks good in melodrama. This composition is theatrical, emotional, and intricate. It explodes by turns with bursts of precision and power in a way that is unique to Algger’s embodied skills. As such, this performance is really excellent, and it deserves more attention. 

From a film production perspective, this video is notable for its significantly boosted contrast, which produces abyssal blacks and emphasizes the bright blue of Algger’s contact lenses. I wonder if the costuming was meant to be reminiscent of Dune, with the eye design, though the high contrast also adds impact to the draping and fluttering movements of the shirt. In such a fraught and theatrical piece, intensity for intensity’s sake is also perfectly acceptable as an aesthetic choice. 

For the first cycle, Algger dances alone, which isn’t easy to do on a stage with such a bare, unadorned sensibility. The venue is a ‘black box’ style stage, and the set is mainly lit by a warm white wash, with some depth added by a golden blaze from stage right. Despite the design simplicity, vivid and dense choreography suffuses both the screen and the conceptual arena. The dance is characterized by cyclical rising and falling through vertical space, which gives the impression of struggle, of instability that thwarts even heroic striving. Exhaustion and desiderium are central motifs in this dance. 

The piece expresses a superb array of feelings relating to the mood of the music. I admire the unreserved, unselfconscious, unironic performance of this highly emotional work. Though it is somewhat conceptual, the dance feels forthright and earnest. Many of Algger’s other choreographies are wrapped in a bubbly layer of camp that precludes vulnerability such as that on display in Lonely Warrior, so this is an exciting divergence from the norm. I’m continually impressed by Algger’s marvelous range and versatility, and furthermore, his execution here is technically masterful. The emotions flutter together in a bewitching tumble, like individual grains of falling, multicolored sand: despair, determination, pain, doubt, woe, melancholy. Each one receives its own mask and body expression. 

The emotional baseline of this work is a kind of stoic despair that magnetizes the viewer toward the character, a hero who struggles valiantly in spite of every defeat. But what really captures my heart about this dance is how dense it is with expert voguing designs. Clean, beautiful, isolated poses that are executed so quickly, entire sequences fly by in an instant. Who can do it like Algger? This is why he’s my favorite. There are several incredibly beautiful moments in this dance that I want to highlight, so let’s get into it.

Backward spin

A lovely and difficult move that occurs a couple of times throughout the two choreography variations is a lyrical reverse spin, or a kind of modified pirouette en dehors. The low, close position of the lifted foot creates a nice contrast with the more angular arm positioning, which flows well out of the sharp, flat, pulling motion that just precedes this spin. To seamlessly integrate a fast reverse spin like this requires a high degree of four core dancing skills: body control, balance, awareness, and timing. All of the dancers in the video do a good job with this very tough move. Algger spins with his characteristic texture, like molten glass. In the context of the surrounding sequence, this move is one of the last of a short series of upright gestures, and it contrasts with the ground roll a few beats later. That repetition speaks to the themes of loss, crumbling, and the corruption of cherished belongings or relationships. 

¾ turn with outstretched arms

Another quick and lyrical spin, this is the move that opens the dance. It is a sudden initiation, and its immediacy gives a sense of the story being joined in media res, implying a long history of this unabating quest, which the dance refuses to resolve. This choice quickly pulls the audience into the mood and story, since it lacks self-awareness of narrative that a more gradual introduction would create. There is no rest for the audience, as there is no rest for the hero.

This is a dramatic, sweeping visual to begin the dance, and it is emblematic of the work’s emotional core: a whirling cascade of reversals, dauntlessness in the face of grief. The arms here move quickly in a wide arc, as if to suggest a vortex. The placement of this move is a little less difficult than the other standing spin. Since there’s more bodily stillness at the beginning and end of the turn, it isn’t as challenging as smoothly integrating a fast spin into a high-tempo series of motions. If you watch carefully, you can see Algger make a beautiful little expression with his left forearm as he bends his knees to begin the turn. It’s like an anacrusis in a piece of sheet music. I love it. 

Shoulder shake with perfect musicality

I’ll always fall for a move like this, which perfectly magnifies a subtle groove or musical notion. In this case, the motion matches a subtle drum fill that adds tension and anxiety to the music. Algger’s shoulder torque here is symmetrical, consistent, and expertly calibrated. It is a bridging move, not a focal point, but the choreography would be much weaker in its absence. This density of motion and concept is a signature of Algger’s choreographic style. There’s usually very little room to breathe, which amplifies the power and the affronting atmosphere. Of course, to create the full effect, intricate filling moves must be impeccably integrated with their surroundings, and this move is a perfect example of just that. 

This ethereal, face-framing hand wave

One of the softest images in the dance, and perhaps my favorite moment overall. This movement has such an entrancing liquidity. Set amongst the hard and turbulent visuals that dominate this choreography, it alludes to reprieve. Here is a fleeting respite from the struggle, barely the length of a breath. Algger’s masterful hand control is in full force here, each individual joint of the digits bending precisely to create an eddying visual, like water dancing on the surface of the mythical river lethe. The hand wave itself is closely followed by the hands and wrists forming a fluttering figure eight around the face. The figure eight move implies disintegration: it resembles a rougher reiteration of the impossibly soft wave, a deforming of the precious thing as it falls apart. This sequence offers a tantalizing vision of oblivion, which slips out of reach before it even fully materializes. 

The effect of gaze is also very powerful and striking in this image. Algger’s gaze follows the mesmerizing flow of the hand wave. It then turns forward for the briefest moment, gentle– almost dazed– and fluttering. As the peaceful moment breaks down completely, angular hands  entrap the face, and the eye contact is lost as the dancers fall backwards, almost as if they were pushed by an invisible enemy (the viewer?). This abrupt dislocation again refers to the motif of impermanent progress, the inescapable clawing of antagonizing forces that allow no true rest or growth. This artistic choice deftly heightens the mood of impermanence and loss, as the sumptuous moment of serenity disappears before it can be savored. Moreover, there is an acceleration to the sequence that hauntingly evokes irresistible corruption. 

This move appears only once in the two cycles, and is the more successful variant. In the first cycle, these beats are occupied by mincing, reaching movements, more characterized by turning of the wrists and arms than the hands themselves. As in the second cycle, Algger’s gaze intently follows the arcs of movement, which give a miasmatic impression of weightless motes. This variant of the sequence lacks the pathos of denied yearning, since the next move, a grasping and running action, flows naturally from the concept, imagery, and physical direction. It is an elegant, mature choice to vary the choreography of this story beat: The diaphanous hand wave in the second cycle is all the more impactful for its rarity and surprise. 

Winged hand swish

Just before that gorgeous hand wave is this sparkling little gem of an image. In the sequence, it is in opposition to a straight, sharp thrust of the hands toward the neck, and it serves as a contrasting energetic reaction. It occurs in both cycles, and is just a delightful little moment demonstrating what unusual visuals can be generated by perfect hands control, with the digits appearing to curve impossibly upward like a bird’s wings in flight. Indeed the shape gives the impression of tiny wings, or perhaps feathers–or embers– floating through the air. This choreography is full of such minute, thoughtful additions. 

Cascading forearm pivots

This is the last fantastic detail I want to discuss before addressing some of the broader themes and patterns of the work. Here, the veil between the story of the dance and the reality of dance as an art form becomes thin. There’s something so heartbreaking about the impermanence of dance. This pose exists only for an instant; I wish I could encase it in amber, hold it in my hand. But of course, its short-lived nature is the very foundation of a charming move like this. Pose is an essential feature of voguing dance, and poses like this that exist contiguously within the flow of a broader motion are the mark of truly exceptional voguing dance. Notice how the static image of the hand extending toward the shoulder exists as a distinct moment, though it lasts only fractions of a second. As the moment dissipates, it leaves behind an impression of the melancholy that fuels the emotional drive of the choreography. 

Conceptually, this move echoes the larger picture of Algger’s body dropping to the floor. It is an early depiction of the concept of thwarted stability. The hand that moves here initially begins as the highest point of the body, as if spared from collapse. But this moment of durability is short, and the hand soon comes tumbling down as well. As an echo, it has less weight than the larger motion, but contains more steps, boundaries, reverberations. It also provides the momentum logic for the next movement, a lateral swing that allows the character to rise again. Unlike some of the other difficult moves in this choreography, Algger is really the only dancer depicted here who is able to fully articulate this extremely fine detail. 

All of this in the span of one second

Mastery over detail is my absolute favorite feature of Algger, and this choreography is bursting with it. Moreover, these moments all have excellent musicality; GIFs don’t do them justice. Algger creates works that are full with intricate designs and layers of connotation; this is his signature as a choreographer. Each piece is a near-endless cornucopia of form, velocity, mood, and concept. 

The primary narrative or conceptual beats in this dance depict a warrior’s difficult path, and often include expressions of defeat, pain, or exhaustion. One of the most striking things about Algger as a dancer is his powerful mask, his ability to never express any emotion unintentionally. The more I notice his exhaustion, the more I believe that I’m meant to notice it, to feel it. Then again, this is undoubtedly a highly demanding and exhausting dance. There’s the tantalizing possibility of a hybrid expression, where Algger could be intentionally lessening his own powers of illusion to elevate the connotations of the dance. A lonely warrior, after too much struggle, drops the facade just slightly, in hopes that his effort will be witnessed. It’s an elegant portrayal of the ideas contained within this song, which describes a longing for connection, a wish for validation of a hero’s tenacity amidst loss. 

Many of the exhaustion images in this piece come from larger, drawn out moments. They tend to focus more on emotion than technique, though there is no lack of lavish execution. 

For example, this lovely hand shape here

In a few instances, especially in the second cycle, however, there do seem to be genuine slips. Here and there, Algger’s reach or rotation becomes attenuated, and his characteristically thoughtful phrasing seems rushed. I won’t immortalize those instances here because it seems rude to give excessive focus to a few moments of imperfection. Moreover, I appreciate such meta-textual aspects, which blur the line between the fantastical, melodramatic story concept and the physical story of the literal performance itself. Certainly, the performance would be weaker if it didn’t attain such a risky, demanding level of difficulty.

Algger’s ‘Lonely Warrior’ choreography perfectly blends stylized cathexis and ardent vulnerability. Broad sweeps frame magnificent, sharp details. The mood is completely enthralling and Algger’s technical mastery is overflowing. Like all of the best Algger compositions, this dance assaults the viewer with its powerful atmosphere. Allow yourself to be swept up in the vibrant, poignant details painted out in effervescent moments on the canvas of Algger’s physicality. 

Bonus thought: In the group dance, I really enjoyed the dancer in the green pants and white shirt! They had sumptuously smooth texture and graceful expression– it was really an excellent performance from that person too.