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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


Under the Weather (2008), Tracie Mitchell Under the Weather (2008), Tracie Mitchell
courtesy the artist

Retrospectives are a great way to circumvent this dilemma because we can see the life work of the person without needing to resort to biography. Life is in the works, plural.

Tracie Mitchell has produced a body of dance films spanning some 25 years. It was an inspired decision on the part of Angela Conquet, artistic director of Dancehouse, to show all these works together. Not only do they reflect a significant creative output, they offer the viewer an opportunity to flit between films, to experience their differences and to allow the experience of one to influence the other.

Predictably, the works were shown in chronological order. From a blurred three-minute ‘haiku’ (Whitehouse #1, 1985) to an extended, full colour film, the common denominator is Mitchell’s own developing eye.

Time changes everything though. Many of the performers from these films were sitting in the audience, draped over beanbags, watching their former selves onscreen. Mitchell was herself present and primed to share this greater part of her own life. So the viewing experience, quite apart from the films, was redolent with the passage of time in that Proustian sense.

Cinema is itself a succession of temporal captures, which in their serial multiplicity stage a complex choreography of movement. Beginning at the beginning, I loved watching three minutes culled from an event staged long ago. Grainy images of phrase material paced out inside an industrial building give an inkling of what’s to come.

Mitchell’s second film, Chicken (1990), is a poetic, slow motion meditation of a group performance, often watched in canon. Set in a car park overlooking railway tracks, the black and white imagery exhibits a considered construction of the viewer’s perspective. Turns and spirals, dips and kicks are played out in exuberant fashion, peppered with flashes of inner urban landscape. The poetics of the imagery arises in waves. Thread (1994) extends this notion of partial perspective, according to which the camera itself makes choices which we inherit. Sure (1998) is pretty much my favourite film, I’m not sure why. The makeup of the many female dancers is quite stark, and their looks to camera a bit contrived and yet their dancing, composure, and close relationship to the camera express a kinaesthetic empathy that is a pleasure to watch.

Whole Heart (2005), Tracie Mitchell Whole Heart (2005), Tracie Mitchell
courtesy the artist
Whole Heart (2005) is much more narrative-based, a scary account of female vulnerability and sexual violence, which reminds us that each young woman was once a child. It contains some unaccountably beautiful images of peeling wallpaper, unravelling the patina of time. Finally there was Under the Weather (2008), a colour saturated account of women’s dreams and fears.

These films are not a trajectory leading to some end. They are each fulsome in their own right. But seeing them together was something else, an opportunity to experience a different kind of beast, crisscrossing time, courtesy of a life in the works.

Dance Massive, Dancehouse, with Keir Foundation: Tracie Mitchell, Dance Screen Retrospective 1985-2008, Dancehouse, Melbourne, March 23, 24;

© Philipa Rothfield; for permission to reproduce apply to [email protected]

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