Posts tagged Hellen Sky
Dark Night

Recently landed: Dark Night, Gracia's written response to Dark Night by Jill Orr and Quake by Hellen Sky, presented as part of Dance Massive 2019, for Fjord Review

It is the smell of composted ingredients I notice first as I make my way along the passage. A blend of animal manure, rainforest mulch, leaf mould, washed river sand, and loam, giving off that warm garden smell. A mound of steamy soil, piled high in the Magdalen laundry of the Abbotsford Convent; a soil mix for holding moisture in a space still damp from its history. Soil might be a source of nutrients for growth, but in the dirt and dust and sadness of the laundry, its steam is overpowering on a humid autumn night.

Change the location, and a normally pleasing smell of pottering about in the garden alters how it is felt. This cavernous space is airless. I feel like I am being herded into a shed, like livestock penned in against the night and her predators, albeit gently, curiously, by a raft of smiling ushers who motion with torches “mind the cables,” “there’s room along the side wall.” Sand, sphagnum peat moss, perlite, overwhelming! Overhead, a moth crashes into the light. It flutters. I stand. There are not enough seats. (Earlier, audience members who most needed a seat had been asked to come forward.) Grass clippings, fungi, and bacteria! Vermiculite, from the Latin vermiculari, to ‘be full of worms,’ too. The urge to flee, or at least stand near to an exit is strong: I don’t want to put down roots here, in neither laundry’s past nor soiled, oppressive present.

And yet I do, for atop this mountain ‘full of worms’ sails Jill Orr. Majestic and unassuming, simultaneously. Both as assured captain of the craft and as a canvas for the audience to project their own thoughts upon. Legendary. Orr and her boat. Her surname alone, an oar, a navigational means, but I reckon she’d be pretty tired of hearing that. Presented by Dancehouse in partnership with the Abbotsford Convent as part of Dance Massive 2019, “emerging from an installation conceived for the Venice Biennale as a response to the terrible fate of asylum seekers arriving by boat to Australian shores, Dark Night explores the crumbling humanitarian ideals of a world in crisis. In this embodied installation, embracing the dramatics of scale, volume, tone, rhythm and movement, a series of images are performed.”

Dark Night  (image credit: Gregory Lorenzutti)

Dark Night (image credit: Gregory Lorenzutti)

Isadora, Patti, and the Ghosts

Recently landed: Isadora, Patti, and the Ghostsa new article on Marginalia (by Gracia) takes you to Dance Massive

Hellen Sky, Michelle Ferris, and Georgia Bettens in Martin Hansen's If it's all in my veins (image credit: Gregory Lorenzutti)

Simulations

Recently landed: Simulations, Gracia's written response to Martin Hansen's If it's all in my viens, at Dancehouse, as part of Dance Massive, for Fjord Review

3, 2, 1, go.

Beyoncé ‘borrows’ moves from the Belgian choreographer Anne Teresa De Keersmaeker. She duplicates De Keersmaeker’s Rosas Danst Rosas (1983) in her 2011 clip Countdown. It isn’t plagiarism; it’s homage, it’s a tribute, darling. Besides, what’s original anyway?

Revamped. Resampled. Reconfigured. Influenced by. What’s mine is yours. Following in the footsteps of the dance pioneers. Patti Smith rolls her head back, looks direct to camera: ‘anything is possible.’ History, it’s in my veins. Who’s following whom? Who founded what? Origin or original? Hey, what does it matter anyway?

DADA gave birth to the Situationist International gave birth to punk. No, Valeska Gert gave birth to punk. She did, didn’t she? She who danced “traffic jams, car accidents, slow movie cuts, boxers, babies, orgasms, and most radically, nothing. . . . [She who] managed to put conceptual brackets around “nothing” some thirty years before John Cage would compose his “groundbreaking” silent piece, 4’33.” She was proto punk, born in 1892.

Modern dance is constantly evolving, absorbing what came before it, moulding what is present and pushing towards what is to come. An exploration of the self, of humanity itself, perhaps its only link is that it feels essential to the dancers, choreographers, and the audience, to the makers and the watchers.

Hellen Sky, Michelle Ferris, and Georgia Bettens in Martin Hansen's If it's all in my veins (image credit: Gregory Lorenzutti)