Our seams and cracks, be they through physical injury or knocks to and aches of the heart, are markers of our lived experience, and through acceptance we can come to find meaning in them and appreciation: I am here, imperfect and all the stronger for it. As Christopher Rodgers-Wilson replaced metal ligatures for golden joinery on the stage, he was proof that “injury and rehabilitation can be enlightening in unlocking a new path forward and arming you with a stronger resolve and new found sense of appreciation for your dancing”. Mending is an art, and the essence of resilience.
In other moments, the “crack in everything” could be read in the lines separating two dancers from each other. Between Coco Mathieson and Callum Linnane, their ever-unfixed negative space created an even river line from head to toe. It appeared as if they were the one worn form in the landscape, cleaved in two by the passage of water and/or time: when one part of Mathieson was convex, Linnane’s neighbouring body was concave. Framed in white costumes, designed by Topp, with the dark stage behind them, it was the negative space they created which caught my eye, the background illuminating the foreground. Together, they made the space that let the light in, and it was breathtaking.
Elsewhere, this sensation was evoked in the space one dancer tried to fill when entwined with another. With a head tilted to one side and the opposite arm extended, a lovely long ‘u’ shape was drawn with the body, a lovely long ‘u’ shape for another to fill with their head lowered, their ear to the other’s shoulder. A shoulder for a pillow, an arm for support, an ear pressed close so as to hear, a meld of two as one, a perfect fit; the joint-call technique of kintsugi, where a similar shaped piece is used to replace the broken one. Each movement flowed into another, but always either filling the outline made by the other, or following the river bend of the other, but never crossing it, instead, shining a light through it. At times, Amanda McGuigan, Karen Nanasca, and Sharni Spencer rippled and sparkled like light as it sought to emblazon the darkness. Gold and darkness made splendid by staging and lighting design by Jon Buswell.
I raise my hand up above my head. I let it fall down. Connected to my body, my arm remains secure in its socket of the shoulder blade. My arm does not fall to the ground. My body is connected, "dem bones, dem bones, dem dancing bones." My body has my back, secure “doin’ the skeleton dance ….The backbone’s connected to the neck bone. Doin’ the skeleton dance.” And it was in this manner that I read Alice Topp’s new choreographic work, Little Atlas. There may have been three dancers on the stage, Leanne Stojmenov, Kevin Jackson, and Andrew Killian, but there was one body. One body caught up in the push and pull of memory.
When Stojmenov moved she was more than in tune with the movements of Jackson and Killian, they became one and the same. "The thigh bone’s connected to the hip bone" and Stojmenov was connected to Jackson, as she fell she was safe in the knowledge that she wouldn’t hit the floor. “The hip bone’s connected to the backbone” and Killian was a continuation of Stojmenov, a different facet of a whole. To me, I interpreted the movements as the struggle within the one body, as memories are reordered and erased by time, and the fluidity of joints begins to stiffen. The thigh bone is connected to the hip bone, but as we all know the body can’t dance forever, not quite. Best to shake it, morph it, steel fuse it like Patti Smith. Or Shakira. "My hips don’t lie [as Topp explains]…. I’ve only got a few more years of dancing left in this old bod so I would absolutely love to have a future in choreography.” And from Little Atlas a future in choreography is undoubtedly what she has.
At the coordinates 78°29’121 N 014°17’986 E, composer Ludovico Einaudi (for and with Greenpeace) performed 'legy for the Arctic', a call from the icebergs, a response on the keys, off the coast of Svalbard, Norway. And at latitudinal and longitudinal coordinates for Melbourne’s State Theatre, in similar vein tap, Einaudi’s 'Fly' and 'Experience' enabled the heart to soar. As revealed in Topp’s choreographic note, by way of two greats, Joan Didion and Patti Smith, this was about our own stored memories and “our attachment to the way these things made us feel” Fleeting time, we feel it in our bones. Transformation, while inevitable, is loss. But as Patti Smith (in her 2015 kaleidoscopic memory dance, M Train) best describes: “the transformation of the heart is a wondrous thing, no matter how you land there.”