Today, I am putting the finishing touches to the ‘Knowing the Dance’ programme on the 9 September.
In-between & mid-stream in Downpatrick last January
I had the great fortune to work on an extended masterclass with artist, contemporary jewellery designer and choreographer Sarah Warsop in January this year as part of the Knowing the Dance project that I am working on. I’d seen work she had been doing bringing diverse artforms together (not only choreogrpahy and jewellery design), and wanted to investigate her technique with the hope of finding a way to draw out the movement/dance within the poems so as to understand better where the moving parts are in the poems and how to make them work best; creating a middle-place between poetry and dance (this was part of Paula and my work-in-progress), and using the middle place as a ground of creativity in its own right.
Down Art Centre Masterclass
Delighted that Sarah will be hosting a three-hour masterclass based on the techniques we worked on in January at Down Arts Centre on 9th September. The workshop is free to attend and booking will be open shortly.
Sarah was the winner of the inaugural Cockpit Arts’ Performance of Craft Award in 2016 has released her new short film ‘LIMINAL’ in 2017. See the video below – find out more about it and her process HERE.
‘Knowing the Dance‘ Premiere
Inspired by WB Yeats’ famous question ‘How can we know the dancer from the dance?’, this performance of a thought-provoking sequence of dance~poems is created and performed by poet Olive Broderick and dancer Paula Guzzanti, joined by musician Martin Devek. The performance is a showcase of how dance and poetry can inhabit a shared creative space while honouring the individual practices of poet and choreographer. Introduced by Damian Smyth (Head of Literature & Drama at the Arts Council of Northern Ireland), the performance will be followed by a Q&A session.
‘Knowing the Dance’ is supported by the Arts Council NI through the ACES Scheme, and Down Arts Centre.
Date: Saturday, 9 September
Venue: Down Arts Centre, 2-6 Irish Street, Downpatrick, BT30 6BP
Price: £5 (ticket booking available from August on 028 4461 0747)
Please note that the performance will be preceded by a workshop 2 hour (3.15-6.15m) ‘Knowing the Dance’ masterclass. More information to follow.
This evening (Friday 31 March), dancer/choreographer/researcher Paula Guzzanti is sharing work-in-progress of the dance element of ‘Intertwine’ – a piece which is being created in collaboration with poet Olive Broderick, as part of the Knowing the Dance project.
The sharing happens as part of Dance Mash 2017 at The Patrick Centre Birmingham Hippodrome, with thanks to DanceXchange and the dance community in Birmingham for offering this opportunity.
Knowing the Dance is an Arts Council NI ACES supported project which explores the meeting places of poetry, dance and movement. The collabarative dance/poetry work will be launched at Down Arts Centre in September.
As part of the ‘Knowing the Dance’ project, dancer/choreographer/researcher Paula Guzzanti and I have been meeting up to create a performance which explores innovative ways that movement/dance and poetry can meet where there is, what I am calling, parity of esteem between the two artforms and where the base of inspiration can move backwards and forwards between the two artforms. Down Arts Centre, Downpatrick, have been the most generous hosts in providing studio space for us to conspire, inspire, experiment and create what I hope will be very interesting and affecting pieces.
One of our experiments is to use the same landscape as a base of inspiration for a piece of work, where Paula would take the movement forward and, I, the poetry. March, here, can be so fine and last Thursday (9 March) provided the ideal conditions to try this out. Paula and I installed ourselves at Steamboat Quay right at the end of the Pondage – and took a half an hour with our own process. It was lovely that walkers on the Pondage that afternoon seemed very content with us being there.
An interesting synergy emerged when we shared our work. Both of us had been considering where our attention was being drawn to, and how we we responded to that. When we moved to the studio to work on the piece of work which will, I think, be a key piece, this question stayed with us, acting as a kind of binding of sorts between the two artforms. This is very, very inspirational work. It is a real privilege to be working with Puala – including the fact that she has a writing practice and her current PhD research is examining ‘affect’ and this is adding a dimension to the work which won’t be there without this collaboration – a more-than-the-sum-of-its-parts situation entirely.