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Dance Massive 2011

March 15-27, 2011


 Da Contents H2

March 29 2011
sounds massive
gail priest: the soundtracks of dance massive

the limits of the extraordinary
nilsson-polias: force majeure, not in a million years, dance massive

March 27 2011
let's dance—and we do
jana perkovic: bluemouth inc, dance marathon, dance massive

the unexploited
keith gallasch: antony hamilton, drift, dance massive

March 26 2011
post-apocalyptic drive-in dancing
carl nilsson-polias: antony hamilton, drift, dance massive

suspending self, time & disbelief
keith gallasch, virginia baxter: trevor patrick, i could pretend the sky is water, dance massive

talkin' 'bout my generation
philipa rothfield: becky, jodi & john, john jasperse company, dance massive

the truth of the matter, or not
jana perkovic: gideon obarzanek, faker, chunky move dance massive

March 24 2011
erupting from the archive
carl nilsson-polias: balletlab, amplification, dance massive

realtime video interview: trevor patrick
i could pretend the sky is water

March 23 2011
in the heat of the moment
keith gallasch: deanne butterworth, matthew day, dance massive

the ambiguities of happiness
jana perkovic: shaun parker, happy as larry, dance massive

March 22 2011
displacements: space, stage, workplace
keith gallasch: branch nebula's sweat & other works

present, tense
virginia baxter: luke george, now now now: dance massive

realtime video interview: luke george
now now now

March 20 2011
realtime video interview: gideon obarzanek
connected

realtime video interview: madeleine flynn & tim humphrey
music for imagined dances

realtime video interview: michelle heaven & brian lucas
disagreeable object

realtime video interview: rosalind crisp
no one will tell us...

March 19 2011
the poisoned pea
virginia baxter: michelle heaven, disagreeable object, dance massive

turning the tables, working the audience
carl nilsson-polias: sweat, branch nebula, dance massive

March 18 2011
dance like never before
keith gallasch: rosalind crisp, no one will tell us...; dance massive

the uneasy weight of metaphor
virginia baxter: shaun mcleod, the weight of the thing left its mark

March 17 2011
into the dance-scape
jana perkovic: narelle benjamin, in glass, dance massive

kinetics: sculpted & danced
carl nilsson-polias: connected, chunky move, dance massive

the art machine dances
keith gallasch: connected, chunky move, dance massive

March 16 2011
ghost dancing
keith gallasch: narelle benjamin, in glass, dance massive

journey of the tribe
jana perkovic: herbertson & cobham, sunstruck, dance massive

March 10 2011
kinetic art machine makes waves for dance
john bailey: reuben margolin & chunky move's connected

February 21 2011
dance massive 2011 artists: from the archive
force majeure, not in a million years; narelle benjamin, in glass, chunky move, faker; branch nebula, sweat; shaun mcleod, the weight of the thing left its mark: luke george, now, now, now; phillip adams amplification

the meeting point
sophie travers: steven richardson, dance massive

 

Trevor Patrick, Sunstruck Trevor Patrick, Sunstruck
photo Heidrun Löhr
WHAT A DIFFERENCE CONTEXT MAKES! IN 2008, SUNSTRUCK FELT LIKE A WORK ABOUT THE DROUGHT— THE THICK, ENDLESS, DUSTY THING EVERYWHERE AROUND US ON THIS OLD ROCK OF A COUNTRY. THIS RAINY BUT APOCALYPTIC YEAR, I HEAR SOMEONE ASK IN THE FOYER, PRE-SHOW: “THIS IS NOT ABOUT CLIMATE CHANGE, IS IT?” I SENSE FUNDING OPPORTUNITIES FOR AN IMMINENT WAVE OF THEATRE AND DANCE, LEAVING US AWASH WITH DRAWING ROOM DRAMAS IN WHICH THE AID-WORKER DAUGHTER INTRODUCES HER BOYFRIEND, A SURVIVOR FROM A SUBMERGED ATOLL, TO HER CLIMATE SCIENTIST FATHER...BUT SUNSTRUCK IS NONE OF THESE.

One of the great benefits of Dance Massive is that it brings some important dance works that may not have received the attention they deserved to a receptive and curious audience. Having been among the relatively few who saw Sunstruck at the 2008 Melbourne International Arts Festival, it is very rewarding to now see it delight a whole new audience.

Nick Sommerville, Sunstruck Nick Sommerville, Sunstruck
photo Heidrun Löhr
At the time, I compared it with the paintings of Russell Drysdale, to Camus’ protagonist who kills an Arab, blinded by the sun. The simple geometry of these works was concordant with the simple geometry of Sunstruck: the single source of light, the single circle of chairs for the audience, the black of the two male performers’ clothing. The series of gestures, interlocking (yet seemingly independent) movements that the two performers engage in—the youthfully strong, mannish Nick Sommerville and the older, fluid, catlike Trevor Patrick—build to create a universe of silent masculinity, in which one can only self-express whilst blinded by the sun. At the same time, the heat, the absence of rain, as much as it delivers them into ecstatic abandonment, also appears to strike them down. Or is this just a beginning of something new?

Nick Sommerville and Trevor Patrick, Sunstruck Nick Sommerville and Trevor Patrick, Sunstruck
photo Heidrun Löhr
In 2008, I saw a personal journey in Sunstruck, a sort of dictionary or compendium of particularly masculine Australian body language—there was great restraint, silent grief, competitiveness, care and extraordinary liberation of body and emotion which, unsurprisingly, ended in weeping. A great deal of the choreography, indeed, is very close in form to mime—staring at strong light, combing hair, smoking a cigarette. However, this time I saw what Helen Herbertson talks about in her director’s notes—a death, a childbirth, the ecstasy of existence, the heavy load of being alive. It was a journey of a tribe rather than of the individual.

Trevor Patrick, Sunstruck Trevor Patrick, Sunstruck
photo Heidrun Löhr
But it is hard to describe Sunstruck, because it is not technically ‘about’ anything—it is an experience, rather than a work of representation. The crucial aspects of the work, though, are also the easiest to overlook: the great dark space, greetings from the artists, receiving a warm drink, sitting in a close circle. The atmosphere it creates—of quiet meditation, but a communal one, not unlike sitting around a campfire—is the container for the experience. If after the show has ended we all remain seated in our chairs, quietly enjoying the tangible community we now are, that would be why. We have seen different things in Sunstruck, but we have all shared a cup of the same tea.


Dance Massive: Sunstruck, concept collaboration Helen Herbertson, Ben Cobham, devisor, director Herbertson, design, light Cobham, performers Trevor Patrick, Nick Sommerville, Arts House, North Melbourne Town Hall, March 14-16; www.dancemassive.com.au

RealTime issue #102 April-May 2011 pg. 12

© Jana Perkovic; for permission to reproduce apply to realtime@realtimearts.net

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