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The motions of Martin’s dancing were controlled and rich of expression, sharing similarities to the moves of marionettes and the mechanic style of the dancer in a musical box. The motions of this immense dancer take form in a very restricted space, as does flamenco. Yet in here the motions were purposefully pointy. The masked performance of gestures and flirting reflect different levels of roles that become entwined to each other, before snapping off into oblivion. The dancer’s compellingly structured motions and the parody-like choreography resulted a captivated illusion about the hunt for the disappeared movement.

The highlight was nevertheless Martin’s surrealistic solo The Raven, in which she features as a cabaret diva of former years with her theatrical radiance and sensual movements. With seemingly jointless arms and her head expressively jerking, she gives a fine imitation of a bird. As the silvery moon shines on the black, glistening raven, as she leans over backwards and allows her ruffled feathers to settle, time seems to stop for one magical moment.

Kaari Martin’s kinetically extremely interesting The Raven demonstrated their performers’ virtuosity and exceptional musical precision.