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Dance Massive 2013


 Da Contents H2

dance massive 2013
March 27 2013
dance: installed, immersed, hybridised
keith gallasch: dance massive 2013

quotidian moves, gangnam-style
philipa rothfield: ben speth, wetubelive

dance massive 2013
sounds to dance to, with, against
gail priest: sound design in dance massive 2013

March 26 2013
the life in the work
philipa rothfield: tracie mitchell, dance screen retrospective

youtubing live
varia karipoff: ben speth, wetubelive

dance massive 2013
March 24 2013
dance & disorientation
keith gallasch: tim darbyshire, more or less concrete

more or less monstrous
jana perkovic: atlanta eke, monster body

realtime tv: tim darbyshire, more of less concrete, dance massive 2013

March 22 2013
ritual entwining
philipa rothfield: soo yeun you, [gu:t] [work-in-progress]

strange affliction: dance massive & transcendence
keith gallasch: jo lloyd, future perfect

March 21 2013
a not so private hearing
carl nilsson-polias: tim darbyshire, more or less concrete

realtime tv: antony hamilton, black projects 1& 2, dance massive 2013

something ends, something begins
virginia baxter: dance exchange, dance for the time being - southern exposure

dance massive 2013
the perfection of submission
varia karipoff: jo lloyd, future perfect

March 20 2013
inner fury, seductive skill
philipa rothfield: anouk van dijk, chunky move, 247 days

March 20 2013
old tropes & the new disconnect
carl nilsson-polias: lucy guerin inc & belvoir, conversation piece

March 19 2013
now, then, now
keith gallasch: sandra parker, the recording

realtime tv: anouk van dijk, 247 days, chunky move, dance massive 2013

dance massive 2013
March 18 2013
creating an affective community
jana perkovic: matthew day, intermission

fun and the damage done
keith gallasch: larissa mcgowan, skeleton

more than smoke and mirrors
virginia baxter: ashley dyer, life support

realtime tv: lee serle, p.o.v., dance massive 2013

March 17 2013
realtime tv: dalisa pigram, gudirr gudirr, dance massive 2013

the body un-mirrored
jana perkovic: anouk van dijk, chunky move, 247 days

the origins of feeling
philipa rothfield: sandra parker, the recording

March 16 2013
realtime tv: stephanie lake, dual, dance massive 2013

dance massive 2013
March 15 2013
a dance for dark times
virginia baxter: dalisa pigram, gudirr gudirr

brittle bones & internal electricity
carl nilsson-polias: larissa mcgowan, skeleton

in the thick of it
philipa rothfield: lee serle, p.o.v.

March 15 2013
inside the audience
jana perkovic: lee serle, p.o.v

the poetry of pain
keith gallasch: stephanie lake, dual

dance massive 2013
when two become one
varia karipoff: stephanie lake, dual

March 14 2013
blacker than black
keith gallasch: antony hamilton, black projects 1 & 2

life in a puff
carl nilsson-polias: ashley dyer, life support

March 13 2013
dark symmetries
carl nilsson-polias: antony hamilton, black projects 1 & 2

lines of flight
philipa rothfield: dalisa pigram, gudirr gudirr

dance massive 2013
suggestive formalism
jana perkovic: natalie abbott, physical fractals

unsettling the audience
varia karipoff: natalie abbott, physical fractals

February 22 2013
an intense manifestation of dance
philipa rothfield: dance massive 2013, melbourne

dance massive 2013: from the archive
lucy guerin inc, conversation piece; antony hamilton, black project; atlanta eke, this monster body; matthew day, intermission; jo lloyd, future perfect; tim darbyshire, more or less concrete; natalie abbot, physical fractals; ben speth, wetubelive


Alisdair Macindoe, Sara Black, Dual Alisdair Macindoe, Sara Black, Dual
photo Ponch Hawkes

Even knowing the premise of the dance, there was a collective moment when the neat synthesis in the third act became apparent. Dual looks at union, what is lost and gained when two become one, or when one and one become two—however you choose to look at it.

Dual seems to play on its phonic proximity to ‘duel’—a combat between two individuals. Pulsing, unrelenting electronic beats set the scene for the first solo, performed by Alisdair Macindoe. The frantic, street-style moves of the opening minutes made me think of a dance battle. Macindoe has seizure-like interactions with the music, shaking violently then switching to perform a break dancing hand glide or an arabesque. The energy required for this solo is on another level—Macindoe displays control amid the blistering and chaotic pace. As he slows down to a piano composition we begin to pick up mime-like gestures, his hands interacting with the invisible.

Alisdair Macindoe, Dual Alisdair Macindoe, Dual
photo Ponch Hawkes
That invisible element, we later see, is the female soloist Sara Black who displays both grit and a nervy tic in her performance. The string composition that accompanies her piece is discordant and her shoulder rolls and hip thrusts are every bit as tightly wound as in the preceding solo. Though slight, her musculature and her matching Macindoe’s speed and energy skirted associations of yin and yang duality. Initially, I thought the dance would avoid the prescribed male/female strength and weakness ‘coming together.’ There are frequent pauses when Black wears a blank, blinking stare, as though she is trying to make sense of the intangible. Through this strangeness, the solo choreography seems to grant the dancers an overarching individuality unrelated to gender. Then there are times when Black’s rigid, shaking body is akin to a rag doll and there’s a sense of foreboding when the music switches to gun shot drumming.

Robin Fox weaves the beats and strings from the two solos together in the third act. It’s not a perfect marriage; there is still something unsettled and frantic about the combination that begs questions. The physical proximity and constant contact that pervades the third act is immediately heralded with a lift. Black leaps and curls up in Macindoe’s arms. Later she poignantly touches his foot. In her solo, her fingers would have been brushing the air. While the moves of the dancers gain meaning we see their solos lose their surreal and idiosyncratic qualities.

 Sara Black, Alisdair Macindoe, Dual Sara Black, Alisdair Macindoe, Dual
photo Ponch Hawkes
The presence of the formerly absent partner reveals the complete mirroring of roles—Black’s blank staring is now at Macindoe and in this third act, gender plays a more telling role. Black is lying on her stomach, lifting her back or leg off the ground. Macindoe restricts her movements by pushing her body back to the floor. It is a brutal moment without being overtly violent, the movements carefully arranged to steer clear of cliché. Lake presents a story every bit as confusing, fraught and fragile as any relationship; the two sides—a soaring lift or a cruel push back to earth—are presented without her own conclusions weighing in. Never breaking into a duel, the duet is about a push and pull, best exemplified when the dancers stand across from each other taking turns to breathe in and out as though one organism.

Dance Massive, Arts House: choreographer, costume designer Stephanie Lake, performers Alisdair Macindoe, Sara Black, composer, lighting designer Robin Fox, producer Freya Waterson, Insite Arts; Arts House, Meat Market, Melbourne, March 12-16;

RealTime issue #114 April-May 2013 pg. 28

© Varia Karipoff; for permission to reproduce apply to [email protected]

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