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{{Short description|2017 ballet by Crystal Pite}}

{{About|the ballet|the photographic sculpture installation|Flight Patterns{{!}}''Flight Patterns''}}

{{goodFeatured article}}

{{Italic title}}

{{Use dmy dates|date=July 2020}}

{{Infobox ballet

| name = Flight Pattern

| italic title = yes

| image = Flight Pattern Dance.jpeg

| image_size = 260px

| alt = A woman is leaning towards the audience while another dancer is holding her torso. In the background, people are walking in a queue.

| caption = An image from ''Flight Pattern''

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| designer = Jay Gower Taylor<br />Nancy Bryant<br />Tom Visser

| genre = [[contemporary ballet]]

| type =

| url =

}}

'''''Flight Pattern''''' is a [[contemporary ballet]] choreographed by [[Crystal Pite]], set to the first movement of [[Henryk Górecki]]'s [[Symphony No. 3 (Górecki)|Symphony No.&nbsp;3]]. It premiered at the [[Royal Opera House]], London, on 16 March 2017, making Pite the first woman to choreograph for the [[The Royal Ballet|Royal Ballet]]'s main stage in 18 years. The ballet won the [[Laurence Olivier Award for Best New Dance Production]] in 2018.

''Flight Pattern'' examines the plight of refugees, drawing inspiration from 20th and 21st-century events, particularly the [[Refugees of the Syrian civil war|refugee crisis]] caused by the [[Syrian civil war]]. The ballet starts with 36 dancers performing on stage and transitions tobecomes a series of duets and solos originated by the dancers [[Marcelino Sambé]] and [[Kristen McNally]]. The piece was mostly positively reviewed by critics, with many praising the performance of the two soloists and the choreography of the ensemble. In 2022, Pite expanded the ballet into ''[[Light of Passage]]'', with ''Flight Pattern'' becoming the first part of the ballet. The narrative is [[Nonlinear narrative|non-linear]] and the movement uses lines created by the dancers' bodies and formations of [[Queue area|queues]] to create [[Suspense|tension]] on stage.

==Choreography==

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''Flight Pattern'' is a one-act [[contemporary ballet]] performed in 30 minutes.<ref name=Watts>{{cite news|url=https://bachtrack.com/review-light-passage-crystal-pite-gorecki-royal-ballet-october-2022|title=Hauntingly beautiful: Crystal Pite's Light of Passage at The Royal Ballet|work=Bachtrack|last=Watts|first=Graham|date=19 October 2022|access-date=2023-04-10|archive-date=5 November 2022|archive-url=https://web.archive.org/web/20221105153100/https://bachtrack.com/review-light-passage-crystal-pite-gorecki-royal-ballet-october-2022|url-status=live}}</ref> The music inspired the structure of the [[choreography]], with a long and slow [[crescendo]] that transitions to a single voice. [[Crystal Pite]], the choreographer of this piece, mimicked this structure in the creative process. She focused first on the large scale of the crisis, then on a singular story. Pite felt that an emotional connection with a single story would be more impactful to the audience than many dancers on stage.<ref name=Winship>{{cite news|url=https://www.standard.co.uk/go/london/arts/crystal-pite-on-responding-to-the-refugee-crisis-working-at-the-royal-ballet-and-the-purpose-of-art-a3477506.html|title=Crystal Pite on responding to the refugee crisis, working at the Royal Ballet and the purpose of art|newspaper=Evening Standard|last=Winship|first=Lyndsey|date=28 February 2017|access-date=2023-04-10|archive-date=31 August 2020|archive-url=https://web.archive.org/web/20200831223924/https://www.standard.co.uk/go/london/arts/crystal-pite-on-responding-to-the-refugee-crisis-working-at-the-royal-ballet-and-the-purpose-of-art-a3477506.html|url-status=live}}</ref>

The piece begins with 36 dancers arranged in three equal rows, standing in profile to the audience and staring at a light while rocking in packed rows.<ref name=Monahan /><ref name=Jennings /><ref name="OBrien">{{Cite news |last=O'Brien |first=Roisin |date=2020-11-30 |title=Review: Crystal Pite taps into current questions of connection, understanding and culpability in Flight Pattern |work=The Globe and Mail |url=https://www.theglobeandmail.com/arts/theatre-and-performance/reviews/article-crystal-pite-taps-into-current-questions-of-connection-understanding/ |access-date=2023-04-10 |archive-date=24 July 2021 |archive-url=https://web.archive.org/web/20210724020648/https://www.theglobeandmail.com/arts/theatre-and-performance/reviews/article-crystal-pite-taps-into-current-questions-of-connection-understanding/ |url-status=live }}</ref> The dancers then move in [[Canon (music)|canon]], their spines extending and rotating to cause their heads to look back, then forward in a bow.{{sfn|Golomb|2023|pp=310-311}} Vignettes of choreography are then performed by various dancers who break away from the ensemble to perform solos, duets, or small group choreography.<ref name="Mackrell">{{Cite news |last=Mackrell |first=Judith |date=2017-03-17 |title=Royal Ballet triple bill review – gripping vision of the refugee crisis |work=The Guardian |url=https://www.theguardian.com/stage/2017/mar/17/royal-ballet-triple-bill-review-refugee-crisis-crystal-pite-christopher-wheeldon-david-dawson |access-date=2023-04-09 |archive-date=7 November 2022 |archive-url=https://web.archive.org/web/20221107054755/https://www.theguardian.com/stage/2017/mar/17/royal-ballet-triple-bill-review-refugee-crisis-crystal-pite-christopher-wheeldon-david-dawson |url-status=live }}</ref><ref name="Schabas 2017" /> These include dancers who fight with each other and perform frantically in couples,<ref name=Jennings /> a body that is left on the ground as the other dancers move forward, a man that frantically moves over the other dancers,<ref name="Winship Review 2017">{{Cite news |last=Winship |first=Lyndsey |date=2017-03-20 |title=Flight Pattern, dance review: Crystal Pite's extraordinary talent shines in Royal Ballet triple bill |url=https://www.standard.co.uk/culture/flight-pattern-dance-review-crystal-pite-s-extraordinary-talent-shines-in-royal-ballet-triple-bill-a3493816.html |work=Evening Standard |access-date=2023-04-09 |archive-date=9 April 2023 |archive-url=https://web.archive.org/web/20230409204120/https://www.standard.co.uk/culture/flight-pattern-dance-review-crystal-pite-s-extraordinary-talent-shines-in-royal-ballet-triple-bill-a3493816.html |url-status=live }}</ref> an energetic duet with two men, and the reunion of a romantic couple.<ref name="Mackrell" /> Contrasting the vignettes are the rest of the dancers, who are performing different choreography at other parts of the stage.{{sfn|Piquero Álvarez|2021|pp=463-464}} The set then opens at the back of the stage, mimicking the entrance to a holding area in a migration centre or transportation . The dancers enter the holding area and try to find a place to sleep.<ref name=Monahan />

[[Image:Marcelino Sambé at USAIBC2010.jpg|thumb|upright|left|alt=See caption|[[Marcelino Sambé]], pictured here in 2010, was one of the soloists, in the original performance of this piece.2010]]

The dance transitions to a ''[[pas de deux]]'' originated by [[Marcelino Sambé]] and [[Kristen McNally]].<ref name=Watts /><ref name=Monahan /> The choreography is broken up with moments of each dancer performing solo choreography, then returning to a duet.{{sfn|Piquero Álvarez|2021|p=464}} The choreography suggests that the couple have lost a child.<ref name=Watts /><ref name=Monahan /> During the couple's dance, the other performers place their coats on the female dancer, causing her to collapse. The performers enter a doorway, but the weight of the jackets prevents the female dancer from joining them and she remains on the ground, shivering. The male performer stays with her, dancing in frustration.<ref name=Jennings /> The ballet ends with the two dancers performing together<ref name="Sulcas" /> and the male soloist turning away from a closing door as the other dancers are seen darting through the opening.<ref name="OBrien" /> The final movement is of the male principal dancer placing a hand on the shoulder of the female principal dancer,{{sfn|Piquero Álvarez|2021|p=464}} with the dancer's fate left ambiguous.{{sfn|Abdo|Attia|Amin|2023|p=85}}

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==Development==

[[Image:Crystal Pite.jpg|thumb|upright|alt=See caption|[[Crystal Pite]], picturedthe herechoreographer, in 2010, was the choreographer of ''Flight Pattern'']]

The Royal Ballet commissioned what would become ''Flight Pattern'' in 2014, which was Pite's first piece for the company.<ref name=Winship />{{sfn|Piquero Álvarez|2021|p=462}} While listening to possible music selections, focusing on [[contemporary classical music]], she was thinking about the ongoing [[2015 European migrant crisis|European migrant crisis]].<ref name="Monahan 2017">{{Cite news |last=Monahan |first=Mark |date=2017-03-14 |title=Choreographer Crystal Pite: 'I'm not putting this on stage as a political act' |work=The Telegraph |url=https://www.telegraph.co.uk/dance/ballet/choreographer-crystal-pite-creative-young-women-often-have-get/ |access-date=2023-04-09 |archive-date=7 October 2022 |archive-url=https://web.archive.org/web/20221007170718/https://www.telegraph.co.uk/dance/ballet/choreographer-crystal-pite-creative-young-women-often-have-get/ |url-status=live }}</ref> She chose to choreograph to the first movement of [[Henryk Górecki]]'s [[Symphony No. 3 (Górecki)|Symphony No.3]], also known as the ''Symphony of Sorrowful Songs''. Pite associated the music with the migrant crisis, for which she was "disappointed" with the international response, and on choreographing a ballet about the crisis, she said it was her "way of coping with the world at the moment".<ref name=Winship/><ref name=Monahan>{{cite news|url=https://www.telegraph.co.uk/dance/ballet/crystal-pites-flight-pattern-royal-ballet-covent-garden-review/|title=Crystal Pite's Flight Pattern is an emotional odyssey that passes in the blink of an eye - Royal Ballet mixed bill, review|newspaper=The Telegraph|last=Monahan|first=Mark|date=17 March 2017|access-date=2023-04-10|archive-date=27 October 2020|archive-url=https://web.archive.org/web/20201027184759/https://www.telegraph.co.uk/dance/ballet/crystal-pites-flight-pattern-royal-ballet-covent-garden-review/|url-status=live}}</ref> The theme and music were selected approximately one and a half years before the first rehearsal and was the starting point for Pite's creative process.{{sfn|Piquero Álvarez|2021|pp=462, 464}}

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==Performances==

[[File:ROH auditorium 001.jpg|thumb|upright=1.1|left|alt=A photograph of the Royal Opera House auditorium|The auditoriumAuditorium of the [[Royal Opera House, where ''Flight Pattern'' premiered]]]]

''Flight Pattern'' premiered on 16 March 2017 at the [[Royal Opera House]], in London. The piece was performed as the first ballet of a triple bill that also consisted of ''The Human Seasons'' by [[David Dawson (choreographer)|David Dawson]] and ''[[After the Rain (ballet)|After the Rain]]'' by [[Christopher Wheeldon]].<ref name=Winship/><ref name=Jennings /> It finished its original run on 24 March.<ref name="Winship Review 2017" /> In its original run, Koen Kessels conducted the orchestra and Francesca Chiejina was a featured soloist for the music, singing soprano.<ref name="Watts 2017" />

''Flight Pattern'' was revived in May 2019, with McNally and Sambé reprising their roles. It was performed as the third act in a triple bill, succeeding the choreographer [[Sidi Larbi Cherkaoui]]'s ''Medusa'' and Wheeldon's ''Within the Golden Hour''.<ref name="Winship 2019">{{cite news|url=https://www.theguardian.com/stage/2019/may/09/royal-ballet-within-the-golden-hour-medusa-flight-pattern-review-royal-opera-house|title=Royal Ballet: Within the Golden Hour / Medusa / Flight Pattern review – monsters and melancholy|newspaper=The Guardian|last=Winship|first=Lyndsey|date=9 May 2019|access-date=2023-04-10|archive-date=27 August 2020|archive-url=https://web.archive.org/web/20200827172443/https://www.theguardian.com/stage/2019/may/09/royal-ballet-within-the-golden-hour-medusa-flight-pattern-review-royal-opera-house|url-status=live}}</ref> A performance was recorded and published on the Royal Ballet website, and available for purchase until December 2020.<ref name="OBrien" />

After finishing choreographing ''Flight Pattern'', Pite was invited by [[Kevin O'Hare]], the director of the Royal Ballet, to choreograph other new works for the company. Instead, Pite stated that she wanted to extend ''Flightthe Pattern''piece by choreographing to the rest of Górecki's symphony.<ref name="Lister">{{Cite news |last=Lister |first=Kate |date=2022-10-18 |title=Crystal Pite: 'There's an optimism in gathering together and creating something' |work=The Independent |url=https://www.independent.co.uk/independentpremium/culture/crystal-pite-interview-b2202191.html |access-date=2023-04-09 |archive-date=2 November 2022 |archive-url=https://web.archive.org/web/20221102072843/https://www.independent.co.uk/independentpremium/culture/crystal-pite-interview-b2202191.html |url-status=live }}</ref><ref name="Swain 2022">{{Cite news |last=Swain |first=Marianka |date=2022-10-07 |title=Royal Ballet's Crystal Pite: ‘Through'Through dance, I’mI'm able to express the inexpressible’inexpressible' |url=https://www.telegraph.co.uk/dance/ballet/royal-ballets-crystal-pite-creating-dance-trying-express-inexpressible/ |access-date=2024-08-06 |work=The Telegraph }}</ref> Production of the piece was delayed due to the [[COVID-19 pandemic]] and subsequent lockdowns.<ref name="Swain 2022" /> In 2022, this extended work premiered as ''Light of Passage'', with ''Flight Pattern'' incorporated as the first part of the ballet. This was Pite's first full-length work for the Royal Ballet.<ref name=Watts />

==Themes and analysis==

[[File:Wien - Westbahnhof, Migranten am 5 Sep 2015.jpg|thumb|upright=1.23|left|alt=A photograph of a group of refugees standing on a train station platform|Refugees waiting at a train station in Vienna. Althoughtravelling, the influxtheme of refugees to Europe in the 2010s was an inspirationballet, thehere piecewaiting didat nota establishtrain the dancers as charactersstation in a specific time or place.Vienna]]

The piece's[[Theme (narrative)|theme]] of ''Flight Patterns'' wasis the plight of displaced persons as they travelledtravel between locations.{{sfn|Piquero Álvarez|2021|pp=461-462}}{{sfn|Golomb|2023|p=309}} While getting inspiration from conflicts from the past century, particularly the influx of refugees to Europe during the 2010s, it did not place its dancers in a specific time or ___location. Instead, the dancers are an allegory for the experience of displaced persons.{{sfn|Golomb|2023|pp=301, 304}}{{sfn|Abdo|Attia|Amin|2023|p=83}} The subject matter is conventional for dance pieces in the [[Western world]], showcasing people outside of the hierarchies of power as performers dancing in a stylized manner. The uniformity of the grey costumes evoked a setting of a prison or battlefield, with the dancers under the control of a more powerful entity,{{sfn|Golomb|2023|p=307}} even though a specific antagonist is not named or explored in the narrative.{{sfn|Abdo|Attia|Amin|2023|p=82}} By not placing the piece narratively in a specific historical setting, the piece avoided themes on the racialization of refugees or the relationship between colonialization and displaced persons.{{sfn|Golomb|2023|p=310}}

[[File:Wien - Westbahnhof, Migranten am 5 Sep 2015.jpg|thumb|upright=1.2|alt=A photograph of a group of refugees standing on a train station platform|Refugees waiting at a train station in Vienna. Although the influx of refugees to Europe in the 2010s was an inspiration, the piece did not establish the dancers as characters in a specific time or place.]]

The piece's theme was the plight of displaced persons as they travelled between locations.{{sfn|Piquero Álvarez|2021|pp=461-462}}{{sfn|Golomb|2023|p=309}} While getting inspiration from conflicts from the past century, particularly the influx of refugees to Europe during the 2010s, it did not place its dancers in a specific time or ___location. Instead, the dancers are an allegory for the experience of displaced persons.{{sfn|Golomb|2023|pp=301, 304}}{{sfn|Abdo|Attia|Amin|2023|p=83}} The subject matter is conventional for dance pieces in the [[Western world]], showcasing people outside of the hierarchies of power as performers dancing in a stylized manner. The uniformity of the grey costumes evoked a setting of a prison or battlefield, with the dancers under the control of a more powerful entity,{{sfn|Golomb|2023|p=307}} even though a specific antagonist is not named or explored in the narrative.{{sfn|Abdo|Attia|Amin|2023|p=82}} By not placing the piece narratively in a specific historical setting, the piece avoided themes on the racialization of refugees or the relationship between colonialization and displaced persons.{{sfn|Golomb|2023|p=310}}

The narrative is [[Nonlinear narrative|non-linear]], particularly in the first part of the piece, where multiple story arcs are shown simultaneously on stage. Narratives include looking for people in a queue, rocking a baby, and bodies left behind as the crowd moves to a new ___location.{{sfn|Piquero Álvarez|2021|p=467}} In some sections, dancers perform together, representing refugees as a single body of people moving as a group.{{sfn|Abdo|Attia|Amin|2023|p=82}}{{sfn|Golomb|2023|p=305}} A motif in the work is dancers with outstretched arms, suggesting they have reached their physical limitations.{{sfn|Golomb|2023|p=306}}

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| rev5score = {{Rating|4|5}}<ref name=Monahan />

}}

''Flight Pattern'' received mostly positive reviews. Pite's choreography of the 36 dancers was described by Graham Watts in ''[[Bachtrack]]'' as "beautiful"<ref name="Watts 2017">{{Cite news |last=Watts |first=Graham |title=The Royal Ballet: The Human Seasons/ After the Rain / Flight Pattern |work=Bachtrack |url=https://bachtrack.com/review-royal-ballet-human-seasons-after-the-rain-flight-pattern-royal-opera-house-london-march-2017 |access-date=2023-04-11 |archive-date=11 April 2023 |archive-url=https://web.archive.org/web/20230411181830/https://bachtrack.com/review-royal-ballet-human-seasons-after-the-rain-flight-pattern-royal-opera-house-london-march-2017 |url-status=live }}</ref> and Martha Schabas in ''[[The Globe and Mail]]'' as a "visually breathtaking work of art".<ref name="Schabas 2017" /> Reviewers differed on the emotional impact of the piece: some thought it was impactful<ref name=Crompton /><ref name="Winship 2019" /> and that the choreography avoided abstract and metaphorical movement to a positive effect<ref name="Schabas 2017">{{Cite news |last=Schabas |first=Martha |date=March 18, 2017 |title=Cleared for Takeoff |page=R9 |work=The Globe and Mail |url=https://www.proquest.com/docview/2459666367 |access-date=2023-04-11 |archive-date=11 April 2023 |archive-url=https://web.archive.org/web/20230411181847/https://www.proquest.com/docview/2459666367 |id={{ProQuest|2459666367}} |url-status=live }}</ref> while others felt the choreography was simplistic and sanitised,<ref name=Anderson /> melodramatic,<ref name="Mackrell" /> or lacked the depth of her previous work.<ref name="OBrien" /> Sambé's performance was "exuded fluency and naturalness" according to Watts<ref name=Watts /> whilst other reviewers praised the decision to cast McNally, asan aexperienced soloistperformer, especiallyas becausea she was an experienced performersoloist.<ref name=Jennings>{{cite news|url=https://www.theguardian.com/stage/2017/mar/19/crystal-pite-flight-pattern-royal-ballet-review-triple-bill-dawson-wheeldon|title=Royal Ballet triple bill review – five stars for Crystal Pite|newspaper=The Guardian|last=Jennings|first=Luke|date=19 March 2017|access-date=2023-04-10|archive-date=27 April 2020|archive-url=https://web.archive.org/web/20200427120101/https://www.theguardian.com/stage/2017/mar/19/crystal-pite-flight-pattern-royal-ballet-review-triple-bill-dawson-wheeldon|url-status=live}}</ref><ref name="Watts 2017" />

Reviewers highlighted the 18-year gap since the Royal Ballet commissioned work from a female choreographer.<ref name=Jennings /><ref name="Mackrell" /><ref name="Winship Review 2017" /> They also pointed out that ''Flight Pattern''{{'}}s contemporary ballet style is different from the classical ballet that the company often performs in its [[repertoire]] and from the other dances performed in the same program.<ref name=Jennings /><ref name="Schabas 2017" /> [[Luke Jennings]], writing for ''[[The Guardian]]'', stated that ''Flight Pattern'' had an inquiry and feeling that was missing from the other, classical pieces.<ref name=Jennings /> Kat Lister wrote in ''[[The Independent]]'' that the performance at Royal Opera House, a ___location considered a classical venue, made the piece more impactful to the audience.<ref name="Lister" /> The subject matter of the choreography, highlighting the European migrant crisis, was also questioned by some reviewers., Theywho felt that the topic negatively distracted them from the artistic achievements of the ballet.<ref name="Sulcas" />

==Awards and nominations==

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|''Flight Pattern''

|{{win}}

|<ref>{{cite news|url=https://www.bbc.co.uk/news/entertainment-arts-43668013|title=Olivier Awards 2018: Winners in full|websitepublisher=BBC News|date=9 April 2018|access-date=2023-04-10|archive-date=30 September 2019|archive-url=https://web.archive.org/web/20190930235126/https://www.bbc.co.uk/news/entertainment-arts-43668013|url-status=live}}</ref>

|}

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===Works cited===

*{{Cite journal |lastlast1=Abdo |firstfirst1=Abeer Hassan |last2=Attia |first2=Dr Marwa Adel |last3=Amin |first3=Esraa Mohammed Tawfik |date=2023 |title=The Integrated Relation between Advertising Content and Dramatic Performance Embodying the "Refugee Crisis" |url=https://idj.journals.ekb.eg/article_288298.html |journal=International Design Journal |volume=13 |issue=2 |pages=75–100 |doi=10.21608/idj.2023.288298 |issn=2090-9632}}

*{{Cite journal |last=Golomb |first=Sariel |date=2023 |title=Channels Through the Humane: The Exiled Body in Crystal Pite’sPite's Flight Pattern |url=https://muse.jhu.edu/pub/1/article/917480 |journal=Theatre Journal |volume=75 |issue=3 |pages=301–320 |doi=10.1353/tj.2023.a917480 |issn=1086-332X |via=Project Muse|url-access=subscription }}

* {{Cite bookCitation |last=Piquero Álvarez |first=Lucía |url=https://www.worldcat.org/oclc/1191456802 |title=The Oxford Handbook of Contemporary Ballet |date=2021 |publisher=Oxford University Press |isbn=978-0-19-087149-9 |editor-last1=Farrugia-Kriel |editor-first1=Kathrina |editor-last2=Nunes Jensen |editor-first2=Jill |___location=New York, NY |chapter=On Physicality and Narrative: Crystal Pite's ''Flight Pattern'' (2017) |oclc=1191456802|pages=457–473|doi=10.1093/oxfordhb/9780190871499.013.27}}

[[Category:2017 ballet premieresballets]]

[[Category:Ballets set in the 2010s21st century]]

[[Category:Works set in the 2010s]]

[[Category:Ballets set in Europe]]

[[Category:Ballets by Crystal Pite]]