A solo performance study — a dance scientist who is also a dance artist — exposing the effort beneath ‘effortless’
Athina Vahla in collaboration with Emma Reading, Mary Ann Hushlak, Susan Sentler, Sarah Chin, Squib-Box and Monica Alcazar.
On October 30th, Dance Scientist Emma Reading performed a new dance work for the annual IADMS (International Association for Dance Medicine & Science) conference in Birmingham.
Emma Reading rehearsing
The dialogue between visual art and dance is of primary concern in my practice as an artist, so the new exhibition at the Hayward Gallery, exploring the interaction between art and dance from the 1950’s to the present is of particular interest. Spectators are encouraged to interact with the exhibits, many of which have been created specifically to be used in dance performances, affecting the movement and outcome of the dance.
Every day dancers (alumni of Trinity Laban Conservatoire of Music and Dance) are in the gallery performing and discussing work. They are very knowledgeable about the dances and will readily talk to you, by interacting with them you will be part of a Performance Event, Production created by Xavier Le Roy and Marten Spangberg.
American, Mike Kelly, has created a theatrical space, laying out objects for the public to interact with in Adaption: Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses the dancers perform with the props in this space.
On Saturdays between 12 and 4 the Yvonne Rainer dance, Trio A is performed in the gallery. The complex pedestrian movements are danced in a fluid continuous stream, no music. If you read my blog on 21st October you may remember I drew two of the dancers performing Trio A on the pavement outside Cafe Luc as part of the Secret Frieze After Party. Impromptu performances of Huddle, choreographed by Simone Forti based on improvisation and chance takes place throughout the gallery.
Trio A Huddle
The Fact of Matter is choreographed by William Forsythe
consisting of gymnastic
rings hanging from the ceiling for visitors to swing and step through exploring the limits and weight of the body, a test of physical and mental agility.
Hula-Hoops are laid out for everyone to use in Rooftop Routine. Ropes hang from the ceiling to sit or stand in.There are also screens with archived material to watch, and many more displays to interact with than I have mentioned.
If you live near High Wycombe, remember Yorke Dance Project will be at Wycombe Swan on 3rd November.
I was looking forward to seeing Belgian choreographer, Anne Teresa de Keersmaeker, company, Rosas perform their new work The Song at Sadler’s Wells, after seeing Rosas – Steve Reich Evening in 2008 and Rosas danst Rosas in 2009, both of which I found fascinating but I found it hard to connect with this dance.
Nine male dancers and two women danced and moved in and to silence, only the sound of their feet beating a rhythm on the floor as they ran and their breath could be heard. The set was stark, a massive roll with the appearance of tin foil above their heads, which occasionally unrolled to produce fabulous reflections on the floor, sometimes like a reflection of a massive spine, sometimes like dappled water. Beautiful interesting images, but the silver shiny material also reflected harsh lights back out at the audience uncomfortably momentarily blinding us. Why do this to your audience?
I thought my teeth would erupt when one dancer rubbed her hands on a substance on the floor producing terrible grating, amplified, rhythmic squeaks to accompany part of the dance.
The Song is very fast, a lot of running, ducking and diving. Unusually I sat high up looking down, but was glad of this as I was able from there to enjoy the shifting patterns created by the performers as they moved and changed direction en mass, sometimes the appearance of flock of migrating birds sometimes a silent game of 40-40-home (or it, had, chase, catch, or whatever the kids round your way call it). I came away with interesting images in my head but also a sense of confusion.
Choreographer Yolande Yorke-Edgell, of Yorke Dance Project, invited me to draw at the dress rehearsal of Americana at The Bloomsbury Theatre, London, last Monday. Americana consists of four dances: Meta 4, choreography Bella Lewitzky, Post Etiquette and City Limitless by Yolande Yorke-Edgell and Home On The Range by Wendy Houston.
Rehearsal drawings below
Drawings from the evening performance below
I drew Post Etiquette in rehearsal before the tour began, see entry September 24th to see the images. This performance comes mid-way in their tour.
On Sunday evening the Secret Frieze After Party was held at the elegant, stylish brasserie Cafe Luc in Marylebone High Street. Dancers from Trinity Laban performed in the restaurant. Two dancers, styled as 1950’s diners sat at one of the tables, then began to dance together and solo threading through and amongst the guests.
On the pavement outside the restaurant, two dancers performed Trio A, much to the amazement of shoppers strolling past. Trio A was created by American choreographer Yvonne Rainer in 1965 (like Trisha Brown, a founding member of Judson Dance Theatre).
Last year I had a solo exhibition, Chasing Shadows, at neighbouring gallery GV Art Chiltern Street, eight dancers from Laban and musician Ronen Kozokaro performed in response to my paintings, drawings and sculpture. Later in the year I exhibited at Greenwich Theatre again the dancers and musician performed in the exhibition space. This is part of an ongoing collaboration that I have with Trinity Laban and Susan Sentler, senior lecturer and dance technique teacher at Laban, who facilitated the Laban alumni for QEH, the Hayward and Cafe Luc.
Billi Currie, the boutique hairdressing salon, also in neighbouring Chiltern Street is currently showing six framed drawings of mine, Billi is happy for visitors to drop in to see the work.
On Saturday morning at the Queen Elizabeth Hall in A Feeling For Practice: Trisha Brown in Focus, dancers from the New York based Trisha Brown Company discussed what had attracted them to join the company, the difference of working on archived material and devising new work and about the artistic practice of their Director. One commented that all dance work in New York was a “bridge leading back to Trisha Brown”, another commented that Brown’s early work held “that wild-child raw energy”. Questions followed, put to Trisha Brown by the audience.
The choreographer also talked about her use of drawing in her creative process, as she spoke she said “It’s easier for me to show you” she leapt from her seat and sunk to the floor, lying on her side she held imaginary charcoal which she pushed in front of her on a huge invisible sheet of paper, using her whole body in the act of mark making (she’s over 70). She said she had filled her house with the 8 foot x 10 foot drawings. In the evening the Company performed four dances. Brown’s drawing is the backdrop to You Can See Us, choreographed in 1995.
Glacial Decoy, made in 1979. The dancers moved in front of a Robert Rauschenberg designed backdrop of four large screens filling the length and height of the stage, showing a quick succession of black and white close up images.
L’ Amour au Theatre, choreographed in 2009
Opal Loop, choreographed in 1980
Watching the dancers perform in the evening, after hearing them speak so candidly about their experiences extended my appreciation and understanding of the work. Brown was at the forefront of the choreographers coming from the post modern era, always pushing the boundaries of movement and dance, showing her work with the Judson Dance Theatre in the 1960’s. The every day gestures which she introduced to her movement are accepted in dance as normal today but were radical when she first used them.
Over the weekend Dance Umbrella‘s celebration of American choreographer, Trisha Brown, took place at Queen Elizabeth Hall in London’s Southbank Centre. Floor of the Forest was first choreographed by Brown in 1970. Using a lattice work of ropes with clothes threaded through and attached to poles about 5 foot off the ground, dancers from Candoco and Laban slowly dressed and undressed themselves moving across the webbed structure like huge spiders stalking their prey.
A triple bill of new works by Candoco Dance Company opened last night for two nights at The Queen Elizabeth Hall, Southbank Centre, London. Renditions consists of The Hangman by Sarah Michelson, In Translation by Emanuel Gat and Imperfect Storm by Wendy Houston. I was invited by Co-Artistic Directors Pedro Machado and Stine Nilsen to the dress rehearsal to draw The Hangman.
Betinna Carpi and Chris Owen
Dancers, Darren Anderson, Elinor Baker and Dan Shaw are also in The Hangman. See my blog of September 5th to see Candoco in the Liberty Festival. Welly O’Brian and Kate Marsh of Candoco will be performing with Laban students in the installation Floor of The Forest in the QEH foyer on October 15th, 16th and 17th to coincide with Trisha Brown Dance Company’s Repertory Evening. My drawings will be posted for that event.
To see further work inspired by Candoco see painting and sculpture on my website, from past rehearsals I have drawn at.
I Drink the Air Before Me by the Stephen Petronio Company was the first dance in the month of Dance Umbrella 2010. The title, inspired by the words of Ariel in reply to Prospero in The Tempest, hints at the ferocious speed, verging on mania that the dance creates. As the audience take their seats the dancers dressed in coats and long johns are on stage with a ballet bar warming up. Petronio wandering around the theatre muttering, dressed as an old salty sea dog: sou’wester, fake beard, wig and big boots (designed by Cindy Sherman). On stage too were a small orchestra and at a grand piano, Petronio’s collaborator in this production, composer Nico Muhly. Ropes are strung across the front of the stage to the circle (relieved I’m sitting stage right so not in my eye line).
As the music begins and the dancers move the audience are transported to the sea: dangerous, deep, wind lashing, out of control, man-over-board sea.
A children’s choir sing at the beginning and at the end.
