Words by Francesca Matthys.
The Power of Perspective: I, II, III a three part investigation choreographed by Finleigh Zack Dance (FZD) was curated by Finleigh Zack; Artistic Director of FZD, alongside three other works part of COMMON THREADS, an evening of socially conscious contemporary dance at Chisenhale Dance Space.
The Power of Perspective: I, II, III is not short of virtuosic performers that glide across the stage with ease. Considering the subject matter of diverse relationships present in our lives, that are all complex and not always straight sailing, Zack choreographs a movement journey that is soothing for the eye in its considered compositions.
The opening solo which makes up part I, performed by Karley Benson is like a moment of self realisation, self awareness and an individual emergence into the world we are to witness. Benson creates both an intimate and inviting introduction as they begin to negotiate a relationship with themselves in relation to the world they exist in and perhaps in preparation for engaging with others. Their movement grows to be expansive and virtuosic, embedded with extensions and flight, culminating in moments of threading and weaving in and out of oneself. A movement motif that extends throughout the work as the dancers later become acquainted with collective relationships.
The red shirt of the solo performer may be a signifier for the individual power and self-esteem that is accessed in the relationship with self. As the only performer who wears red, it could also signify a sense of urgency to discover oneself further or moreso, to seek connection.
This solo in red is followed by a duet, clad in white where two new bodies arrive in a meeting of heads on the floor. This opening of part II is a subtle and tender moment of union that once again emphasise this world of ongoing connection and negotiation. This duet performed by Jan Wood and Eloïse Frey reflects our intimate relationships, and is fluid and potent in its togetherness, allowing space for both agility and stillness. The moments of collective rest that this work offers show a capacity to exist authentically in our relationships, supporting opportunities of shared embodied and emotional processing and reflection.
The use of the head as a motif is also perhaps a reference to how we may at times approach our relationships through a cerebral lens, rather than an embodied, emotional space.
The final and third part of this work offers a dynamic and playful approach to relationships and connections with our larger community. The whimsical and gentle music score creates spaces for a range of compositional possibilities. A comforting moment of negotiating space, listening to each other and being present to our individual realities within a collective, with a trio performed with solo performer Benson. Moments of weight transfer, lifts and unison very clearly allude to how we may uplift each other within communities, how we may share the load of life. The work culminates with all dancers present together in the space, hugging, holding and feeling, present to their journeys and available to the space that exists between one another.
Finleigh Zack Dance’s work offers us a very gentle way to ponder on how we relate to one another through what Kundalini yoga philosophy refers to as the three levels of consciousness; individual, collective and universal. As their work is in conversation with mental health issues, it touches on relevant experiences that we all can recognise.