Words by Francesca Matthys.
As the electric and vibrant preset music blares through the Lilian Baylis Studio, Malik Nashad Sharpe aka Marikiscrycrycry floats through the space to find their seat with us. Their new ensemble work DARK, HAPPY, to the CORE is an extension of their practice which celebrates the unique dialogue between horror, culture and the human existence.
The opening solo performed by Max Cookward embodies the postures of human evolution before evolving into a very internal and beautiful solo. This ethereal expression foreshadows the surreal world that Marikiscrycrycry and their collaborators offer to us.
This world, constructed almost like a video game, gradually develops with the introduction of various archetypes. At first glance these diverse characters may seem disjointed. However, as the work evolves and, as stated by the choreographer, these nomadic archetypes are modelled after festival-goers (the work’s origin story is that it was originally commissioned by Roskilde Festival, Denmark’s first music festival).
Swiss psychiatrist and psychotherapist Carl Jung’s archetypes can be classified as universally recognised symbols or themes that show up around us, as ways to further understand ourselves and our relationship to each other. This theory aligns with the premise of Marikiscrycrycry’s work DARK, HAPPY, to the CORE, examining the essence of what makes us human, binding us together as well as the choreographers desire to show the ideal versions of each performer in this work.
The way we express ourselves through our layered identities is what often allows us to integrate with one another and find a sense of belonging within a community. As the performers move with, towards and in opposition to one another we see them duel, assert their dominance and territory and also feel attraction and curiosity, dancing in the crimson light of euphoria. One of the earlier duets sees a dancer cautiously sliding backwards across the floor while the other crawls onto of them with intentional desire. This creates emotionally and physically awakening moments where we are drawn into the dynamic of these moving bodies onstage.
In the post-performance discussion, the choreographer unpacks the definitions of euphoria used in work, referring to elements of darkness, excess and also calm and sensuality. The ensemble choreography is repetitive, rhythmic and perhaps even trance-like. This ties in with the idea that rave culture and raving are clear expressions of a euphoria that cannot be contained but deeply felt.
After seeing Marikiscrycrycry’s solo work GONER I was truck by their innate ability to hold us and our emotions through intelligent dramaturgy. When watching DARK, HAPPY, to the CORE we see their vast exploration of movement language. I imagine that this movement language is informed by Marikiscrycrycry’s Caribbean heritage; infusing distinct cultural references and strong relationships to sound and music. I am often struck by how a cast of diverse backgrounds and dance practices approach movement language that is very much part of a specific culture. To observe this embodied processing, as well as the clear exhaustion of dancers moving through this ongoing rhythm, takes us back into the awareness of humanness, of mortality and being together as bodies that can feel.
As choreographer Marikiscrycrycry finds strong connections to the US through their background. It was a coincidence that this work premiered shortly after Donald Trump was reelected into office. Though not overt, this work feels very pertinent with this new Trump regime upon us. Perhaps a way for younger generation to revolt, process and relish in the little bit of euphoria available to them, even if it’s fleeting.