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Hughes is especially eclectic when selecting these performers: The Red Room was driven by both Seed and traditional Indian dance, alongside some subtle references to classical ballet. But the question of style doesn’t bother him. “Does it then matter what genre it might fall into?” he asks. “I want the Hughes name to synonymous with 'well [link widoczny dla zalogowanych], don't know what he's up to next, but lets go and see it'.”
The Red Room and Live Artist Al Seed
Hughes and Icons of British Dance
Perhaps most importantly, Hughes has made a strong connection with the revitalised Traverse Theatre. Based in Edinburgh, this was one the most energetic new spaces to emerge in the 1960s, and has supported “new writing” for the past forty years. By inviting Hughes to be part of the theatre’s programme, artistic director Dominic Hill has indicated that he has a broad definition of what “new writing” can mean.
Read on
Defining Indian Dance for Scotland
A Brief Survey of Theatre in Glasgow
Acrobats, Ceilidhs and Kilts
A Scottish Renaissance
Following a fringe success with The Red Room this year, David Hughes has firmly established himself as one of Scotland’s premier choreographers, working with Indian dance, live artists and clowns to create a unique fusion of styles that represents the diversity of modern Caledonian performance.
His most recent show, programmed as part of The Traverse’s energetic Autumn Season, however, returned Hughes to his roots with pieces, as he admits, from “big International names, icons of dance.” When Hughes first went solo, he began by looking at his recent past.
David Hughes Dance was originally formed in 1996 as a solo project for the artistic director: having worked with Rambert and Siobhan Davis [link widoczny dla zalogowanych], he was already recognised as a vibrant contemporary performer. In 2005, the company expanded and by 2009, DHD had been awarded flexible funding by the Scottish Arts Council.
There is an even more local aspect to Hughes’ delight at being part of the Traverse. “We are also keen to be recog
Comparing these intimate pieces with something like The Red Room, which was a collaborate with Al Seed, a live artist best known for combining dark clowning with an urgent physicality, the range of Hughes’ imagination and vision is clear. Nevertheless, he is modest about his intentions. “I just have a crazy head, and a fab team of collaborators who can work with it. Foremost, there has to be quality [link widoczny dla zalogowanych], entertainment and excellent performers.”
Hooking up with The Traverse
For Hughes, this helps to define the national identity of his company. “David Hughes Dance Productions is a Scottish company. We are very pre-occupied with and proud of our roots and our home in the company and we're keen to demonstrate the ambition and calibre which exists here.”
Since the individuala in question include Siobhan Davis, Christopher Bruce and Javier de Frutos, it is clear that Hughes had connections with some of the biggest names of the 1990s’ British dance scene. “They are my teachers, mentors and friends,” he points out. “I worked with Christopher Bruce when I was guesting for Rambert - we have always remained close. I also performed with Siobhan's company.”
“I invited these individuals to make work for me to reflect on my own history as a means to defining my future,” he adds. “I chose to perform these original commissions, though punishing, to show the audience the spectrum of choreographic disciplines I have been exposed to but also the range which still exists in me as a performer.”


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