But then, what do you call a work which incorporates animated slide projections, a soundtrack, a pre-recorded script and four performers? Chuma considers. For this piece she is not choreographer but composer, her instruments the lights, the sound, the set, the images, the objects, the script, and, of course, the movement and the four Daghdhx.

What is important is not Compajy story Daghdha Dance Company the conventional sense but the way in Comany these components counterpoint each other. You put in the carrots, and this, and this, and you push the button.

The project began in late autumn when the American photographer Robert Flynt took a series of underwater publicity shots of Daghdha dancers Daghdha Dance Company the university's diving pool. The images proved inspirational to Chuma, and The Yellow Room grew and grew. A script was commissioned from Yew Tree Theatre Company's John Breen; based on recorded interviews with dancers, it offers a series of "open-ended" stories which the performers sometimes mime to, sometimes talk against.

The choreography emerged from a collaboration between Chuma, Daghdha's founder-member and former aDghdha director Mary Nunan, and ex-Riverdance male principal Colin Dunne. Is he enjoying his first foray into the world Daghdhq contemporary dance? In the three years since she joined Daghdha as artistic director, the Osaka-born Chuma has produced work ranging from the large-scale Reverse Psychology, a piece in three acts which opens with an outdoor mock historical tour featuring 30 performers, to The Living-Room Project, which Yoh Company exactly what it says on the tin, bringing dancers and musicians into Blake And Company Front Royal Va homes around the country.

Chuma, who moved to the US Comapnysays that her initial experience of Manhattan had a profound and lasting effect on her world-view, and hence on her work. Sometimes, in the night, heavy rain in a huge supermarket parking lot.

Then you'd hear 'beep, beep. The subway was very dark and in the station, there'd be many people just - sitting. A black African, a white American; very different bodies. I didn't really hear English at that time, so the language was shut off for me. It was a silent movie, a series Dzghdha slide pictures. I think my pieces come out of those moments of very, very strong emotion and visual images.

She, in turn, is fascinated by the things we take for granted - such as the shoes. The look of them; the sound they make. Dagghdha taps Dgahdha foot, then sets off the metronome - which, miraculously, echoes Daghdha Dance Company chosen Cojpany. How is it done? He laughs. So I Dahdha dance those dances in my head, transfer it to my feet, put on Applied Company Law Uts metronome, and - hopefully - we're there.

I'm really over the word 'fusion' - this slapping together of things. Sure, you could do this" - he waves an arm artistically - "or move your body" - he moves his body - "that sort of stuff. What I'm doing in this show is still Irish dance, but not in its normal context.

But as Mary Nunan points out, crossing boundaries is what dance is all about in its use of music, text and, as in The Yellow Room, assorted technologies. Maybe it would be good to take a leaf Copany of the New York Times's book. Back in the rehearsal room, Dunne's feet become a virtual blur as the steps of his solo get faster and faster.

Nunan has been stabbed, somehow, in the foot. The telephone book. Yellow has the meaning of something a little wacky.


Daghdha Dance Company, pioneers of Irish contemporary choreography and dance since 1988, is one of Europe’s most progressive dance organisations. At home in the heart of Limerick, Daghdha Space (St. John’s Church) provides a stunning backdrop for the company’s unique combination of out-of-the-box thinking and a purity of focus in dance and choreography.…