The right moves for peace

Sometime back in the late 1990s, the cry of "dancers wanted" in newspaper advertisements for a dance project known as the Sultans of the Dance created a buzz of excitement in Turkey. From the 750 applications received, 90 were selected. The dance group mesmerised the Turkish audience with its feverish debut performance in 2001.

Well, that was just the beginning. The project, called the Fire of Anatolia, bears 3,000 dancers and has reached an audience of 15 million through 2,750 performances in 75 countries.

For the choreographer and art director Mustafa Erdogan, the journey seems to have accomplished his objective. "This is true success in the long run," he says. "We have successfully integrated Eastern and Western cultures in our performances, while giving universal messages of peace with Anatolia's cultural and historical mosaic of a thousand years."

Their new show, Troy, depicts more than 3,000 years of the history of Anatolia, taking Homer's legend as its starting point. Under Erdogan's direction, the 120-strong ensemble gives life to the legend of Troy. It features music by Yucel Arzen and lighting design by Christopher Ash of Chicago fame.

Erdogan speaks to Weekend Review.

When did you first read Homer's epic poem ‘The Iliad'?

In my university years while taking a lesson on ancient philosophy. I really loved it. This epic poem was always there in my mind since then, because the more our cultural possessiveness becomes nationwide and is well treated, the more we become universal.

What is the mythology that inspired you?

The conflict that arose between the West and the East at that time still continues. Turkey, which is between these two civilisations, feels this conflict at all times. With this show, I demonstrate that the Trojan civilisation, which the West showed as its own civilisation, actually belongs to us and that the source of Western civilisation lies in the East, at least within the context of this story. I depict my longing for peace that must exist between the civilisations.

Which regional dances have you included in the show?

Our [show draws from] a wide region — from Skopje to Caucasia, Crete to Mosul. This entire area has an impact on Anatolian dances. Troops that came to help Troy participated in the war from these regions. Therefore, we were [inspired] by the dances of a number of regions.

Similarly, many international stars took part in the preparation of the musical compositions of ‘Troy'.

In Troy, music is as prominent as dances and costumes. We remade the instruments of that time after [studying] historical information. In recording, we use the sounds of these instruments. Yucel Arzen's musical compositions were performed and vocalised by Prague Philharmonic Orchestra with its 80 members. The orchestra was accompanied by Gheorghe Zamfir, Civan Gasparyan and Vassilis Saleas and about 70 Turkish virtuosos. The lyrics are in Hittite, Phrygian and Luwian.

What is the thing that makes your show attract so much attention throughout the world?

Our interpretation of Troy is different. It is genuine and is performed with a disciplined understanding of the dance.

In this piece, a story known to Western people is performed by Trojans for the first time.

What type of training do you subject your dancers to and how are they prepared?

To me, discipline is prerequisite for being successful. I intervene in every area, including the private lives of my dancers.

We do not [consider dance as] a profession; dance is a lifestyle for us. We do all these things to expand the limits of our body language and to free our body further.

My dancers and I kept working without quailing under 50C in Antalya in summer and bore the cold and snowy weather of Istanbul in winter. Our working tempo does not change depending on such conditions. It is our target to work eight hours a day consistently. Rehearsals are definitely carried out.

What do you want people to take home with them?

The legend of Troy has never been performed before on stage. There are similar examples only in cinema. Cinema has necessary resources and you can create illusions, which is not possible in a live performance. We push our limits and want the audience to push [the limits of] their imagination.

Layla Haroon is a freelance writer based in Abu Dhabi.

The legendary dance show Troy will be performed tonight at 8pm at the Emirates Palace, Abu Dhabi