Ciarán Finlayson


    WHEN MBU, 2017, PREMIERED LAST SPRING at Tate Modern, it was difficult to actually see Paul Maheke dancing. His body was obscured and occasionally illuminated by video projections and layers of hanging scrims. Past the initial frustration, these impediments to spectatorship, it became clear, were as much part of the piece as any of Maheke’s choreography. Viewers were unable to hold him in sight for long. The effect was to make the dance feel ambient rather than spectacular, something best enjoyed with the same etiquette as that of the dance floor: by casting the occasional obliquely held glance.