Nothing here has been done for us. The human being lives an illusion of protagonism in relation to existence, a narcissistic process of thinking that everything is done for the human being. People are at home, struggling in a dispute for protagonism. Wanting to negotiate with a force still unknown to the human being, which is nature, to exist and to deal with the fall of everything that was believed to be right. This “not being”, this negotiation, this dispute for is represented in a film, with 18 dancers who created their interpretations on the theme, printing their style and voice over a choreographic base created by @marcel.anselme and filming themselves in their own homes, during the quarantine, with the that was available, alone or with the help of their partners.
“Dança do Isolamento”
We see this story as a metaphor for what many ballet dancers experience upon the imminent journey of their retirement from professional careers. On stage there is always a happy ending. For example, Seigfried in “Swan Lake” immediately realizes his mistake in being seduced by another woman, seeks forgiveness from Odette, and follows her off the cliff to his death so they can be reunited in the afterlife. But what is the reality for the dancers who play these characters? When the fairytale is over, what happens next?
The dancer and choreographer of Liminality, Annali Rose, is searching to answer that question for herself. She is using her heart as a guide to follow what brings her joy. As someone who is new to choreography, she wanted to begin this journey in the only place she had felt inspired to play with choreography in her past—underwater. The water is symbolic of the feeling of drowning and the death of her identity as a professional dancer. But it also envelops her, providing safety, support, and the spark of joy that is the magical seed of regeneration.
The cinematography was captured by artist and digital choreographer, Jennifer Akalina Petuch, at the Madison Blue Spring State Park in Lee County Florida during January 2020. Having a sharp eye for 2-D composition in Dance and a steady hand, Petuch used her skills of swimming, experience as a professional dancer, and a simple GoPro to film and then create the underwater work.
We focus in on her as she walks in air, gravity free, not knowing where we are, what is up and what is down. Spinning through the space, gradually we see her disappearing, focus fading and she is gone.
Floor Falls is a collaboration between award winning film makers Lewis Gourlay and Abby Warrilow of Cagoule and aerial dance choreographer Jennifer Paterson of All or Nothing Aerial Dance Theatre, featuring dancer Freya Jeffs.
This short dance for screen brings together aerial harness techniques with dance for camera.
Filmed within the stunning South Australian landscape, The Circadian Cycle draws upon choreography from Australian Dance Theatre’s award winning mainstage work The Beginning of Nature.
Using the dancing body as a metaphor, The Circadian Cycle examines morphology, biological rhythm and animal behaviour. The film charts a day from sunrise to evening, moving through cycles of nature, from nascence and awakening to predation and death.
The film was shot in stunning locations across South Australia including: Flinders Chase National Park, Lake Bumbunga, Lake Gairdner, Maslin Beach, Mount Lofty Botanic Garden and Mount Remarkable National Park.
They teamed up with german videographer Torben Loth to create a video where they explore different constellations that can happen within a relationship, based on the three words: dependence, independence & interdependence.
The video shows a conceptual performance that moves through those different stages.
Starting with dependence, a space where one is guided by the other regardless of one person’s needs. Moving through independence where we move on our own without needing the support of the other to finally arrive in a space of interdependence where we give ourselves the freedom to be ourselves & equally support each other.
In a rocky and steep beehive two worker bees do not dance their lives away; quite the opposite, their hectic buzz raises cries – and moves – of alarm. The dancer bodies, transfigured into alien though intimate creatures of our imagination, dialogue in flying, express power, vital energy, inscrutable beauty and rage against human blindness. Eventually they scatter pollen as if they’d scatter seeds of life and conscience regeneration.
It is sharp and insightful visual suggestion, bursting with energy and hope for a better future, accompanied by the razor-sharp use of natural and artificial lights and a soundtrack that gives rhythm to the bee-dancer bodies as the very beating heart of our fragile world.