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LONDON CONTEMPORARY DANCE THEATRE
 
 
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photo:  Anthony Crickmay
 
photo:  Anthony Crickmay
 
 
 

London Contemporary Dance Theatre was a remarkable organisation that provided unique opportunities for a great many dancers, musicians, and those involved in the theatre. With wide open permission to experiment and develop creative ideas, many individuals who trained or worked there, have now had an enormous impact on the definition of dance and physical theatre arts in the UK.

Jon Keliehor’s time with LCDT was a life shaping experience that allowed him to connect with music as a physical expression, and discover new ways to create percussion based music. Between 1971 - 1984, a great deal of new music commissions emerged, and during this time he composed works for nearly every modern dance company in London.  He made music for dance classes on a daily basis, developing the art of dance accompaniment to a virtuostic level.
 
Two of his contemporary dance music scores attracted considerable attention, helping set out a new style of world percussion music. CLASS V for the choreography of LCDT director Robert Cohan, and TROY GAME for Robert North, are pieces that offer a challenge not only for musicians but for dancers alike.  These pieces have been presented by dance companies throughout the world.

This time provided opportunities to write music for individuals who would lead the way in contemporary dance in the UK, and abroad. Beyond The Law for Darshan Singh Buhller, Invisible Opponents for Beyhan Fowkes, Ancestoral and NightFire for Stewart Arnold, Rigoletto Rocket for Keely Garfield, Voice Mask and Time Tower for Liana Nyquist and Ingegard Lonroth, Improbable Exotic Birds for Nin Dance Company, Songs And Silences Of Night for Rosina Bonsu, and later works for Jacques Broquet, Adriana Urdaneta, Luz Urdaneta - Danza Hoy including Momento Hostiles, Quarenta Grados En Sombre, El Jardin De Los Mysterios, Zona Torrida. There were many additional small pieces of music that would later pave the way for the diverse approaches to composition that characterizes his music, most of which revolved around a relentless search to utilize and harmonise the many different voices of percussion instruments.
 
 

LONDON CONTEMPORARY DANCE SCHOOL
 
 

Compositions were one aspect of Keliehor’s work at London Contemporary Dance Theatre, however, lectures and classes in music at the affiliated London Contemporary Dance School gave students a deep access to rhythmic understandings in dance and music, providing musical tools far beyond the scope of general music-for-dance educational programmes.

Keliehor developed a range of classes that focused on enhanced rhythmic awareness. Rhythm and Percussion Music Studies, provided an examination of how rhythm is a key element in developing an interlink between music and dance, as well as other art forms. The effect of these classes was far-reaching, causing a high demand by students for ongoing sessions.

Keliehor says of this period:
“I focused on the study of Rhythm, knowing that it was a concern for both musicians and dancers. It seemed to me that the knowledge and practise of rhythm greatly enhanced the expressive powers of an individual. The course was a magnet for dancers.  It commenced with an enthusiastic group of students heading for uncharted territory. At the beginning there were no rules, simply ideas, and many, many questions to be answered. We beat out rhythms on logs and pounded them out on the floor, as if it were a giant drum. We played instruments, composed secret music, recited poetry, drew mosaic rhythm patterns, shouted out rhythmic phrases, and engaged in movement game structures.

Students brought music recordings to be analysed.  We looked at all kinds of music from every part of the world, gaining special insight from cultures that had rich traditions of dance and music.  Core material grew from the needs and ideas generated within the classroom.  The course became more intelligent and more complex with each passing year.  A great many exotic and practical ideas coalesced into an intensive study of Enhanced Rhythmic Awareness, although it wasn’t known by that name at the beginning.”
 
 
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THE MUSIC OF CLASS  V
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THE MUSIC OF TROY GAME
 
 
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