We are in a new place

We are here – the blog has been like a ghost for the past two weeks; there as a constant not always comfortable presence – but not in a material sense! Reflection has been ploughed straight back into the process of bringing our work to a place of performance as research. Each day has been intensely concentrated

and different … (more detail in due course)

Late Work has felt a little like the child who has to fend for itself and learn through experience. But when we returned to it with Malcolm and Andrew in the tech on Friday, it seemed tough and robust enough to sustain even very tired body/minds through the second run. At the heart of it are questions about how the individual artist is in dialogue with the body of (shared) disciplinary knowledge and one’s own embodied knowledge. We overtly reference technical and expressive features of ballet (for example Petipa’s choreography for the Sleeping Beauty 1890) and the work aims to interweave this embodiment of ballet ‘pasts’ with personal memory. Thank you Petipa! The structure is as before in six parts, each of which has a different focus.

As planned the primary focus for these past two weeks has been working with Bach and the piece which is called Dancing the Invisible.

Bringing together diverse stories and aesthetic practices, and integrating our dances with the structure of the cello suite no 2 in D minor is a delicate and fascinating work. At times it’s felt like I was mending an old woollen garment, carefully bringing forward the dropped threads. It stimulated a memory of my first job on Ballet for All and beautiful June Highwood, whose expertise in doing just that on beloved practice wear was sought out by all the ballet company.

I’ve drawn on the  2010 research with Ann’s company From Here to Maturity at the South Bank Centre and the histories of our collaborative partnerships and the embodied practices of the artists. Our process has involved developing choreography in collaboration through creative tasks, improvisation and discussion. Critical has been feedback from choreographer Liz Aggiss (inspirational) and from intergenerational audiences on work in progress n 25 April from Woking Dance Festival’s Young Ambassadors and their leader Roz Lynch. Thank you from us all.  Liz’s intervention and questions about both pieces shifted the work out of a groove and back into the place of uncertainty and discovery – the wonderful unknown.  Roz and her group encouraged us to find handles for the audience to enter into this place of dance music discovery. Then David Hockham transformed the space at the Ivy with sensitive lighting and constructing our 3 sides of the square vision for the event. Malcolm McInnes has patiently to-ed and fro-ed between retail outlets in search of the ready-mades for our costume… and Martha and his needles have been busy too…

(crossing fingers and toes)

As all this work converges for another milestone today – enter an audience and our performance as research is at the next place …

Please come and watch this space …