Words by Katie Hagan.
Last Friday, Independent Creatives Night brought together a group of independent dance artists each showcasing three works they’ve either created or choreographed. Designed to provide a platform for play – scratch events are becoming something of a rarity so this was great to see! – Independent Creatives Night is focused on the sharing and testing of newly created works without the pressure of creating a final and finite ‘product’. This intention is really important at a time where it is a challenge for independent artists to find the time, money and resource to experiment.
The evening began with Girlhood & Desire by Franziska Böhm and Serena Ruth. At the beginning, we were invited into a dark space. We sat in silence for a few uncomfortable moments waiting, or was it lurking, in the depths for what was to come. Small sounds and gurgles come and go. We’re not sure where they’re coming from or whether they have symbolic meanings, but we listen in anticipation. As the sounds get bigger and become more cackley and guttural, the lights appear revealing Franzi and Serena. Like two creatures being (re)born, they discover what their bodies can do by producing different types of sounds that then in turn stimulate movement. The sounds are at times very primal and sexual, and as an audience, this makes us feel very alert to what our roles are as witnesses. Certainly overturning the silent dancer concept, Girlhood & Desire is a piece that brings sound, both harmonic and the grating kinda type, to the fore of a performance.
Attila Andrasi’s Semblance of Existence followed. Performer Alex Miklósy moved and grooved to a consistent beat, his moves blooming from slow and slight shifts, to full on propulsive runs and jumps. Much like Girlhood & Desire, the movement is searching for its crescendo, its boiling point. And we are brought along in this journey, totally hooked on Alex’s cool clubby grooves. We join him in his indulgence and joy – Semblance of Existence feels completely liberating for the performer and audience.
Continuing in the ‘tackling taboo’ theme, As of Right Now by Nicola Adilman turns the concept of life drawing on its head, with Nicola our protagonist giving insight into her psyche as she stands still being observed. With two visual artists standing onstage primed and ready, Nicola drops her robe. Naked, Nicola is given directions by one of the artists to get into position. Assuming her first pose, an audio begins to play featuring Nicola’s wandering, awkward thoughts about being undressed in front of loads of people. Clever and humorous moments like these are aplenty in As of Right Now especially when Nicola moves into a second side-plank pose only to regret her decision as, after an impressive 20 seconds, her body begins to shake.
As the piece progresses, it becomes clear that although comfortable in her own skin, Nicola is not necessarily choosing (therefore truly consenting?) to being a life drawing model. Not to undervalue the practice of life drawing, but I am sensing that maybe this isn’t Nicola’s calling? Many artists in this economy definitely have to take on jobs out of pure necessity.
Towards the end, Nicola reflects on what it has meant for her to be observed in this way, stretching her observation more broadly (and perhaps a little too thinly) to today’s world in which we are constantly monitored and photographed without our consent. The piece ends with Nicola clothed, dancing freely and at liberty. The two visual artists trace and draw her movements on giant pieces of paper hanging from the back of the performance space. Nicola has seemingly found a space and state of flow where she wants to be.
The evening ended with a short panel discussion, chaired by us, on what support and advice independent artists need. I will share some reflections here – thank you to the audience members for sharing!
