Presented by The Work Room
Three dance films are being screened tonight at the CCA, commissioned by Horsecross Arts in Perth, all of which focus on three individual artists’ responses to the work of dance pioneer Margaret Morris (1891-1980) whose forward-thinking practice incorporated health, breathing techniques, nutrition and exercise, as well as movement-based choreography.
What is interesting about the three films shown are the disparate energies the film makers bring to each individual film.
Fresh Fresh Air by Su Grierson (2016)
Su Grierson places an emphasis on landscapes- in a literal location, as well as the complex landscapes of the body. Dancer Brigid McCarthy moves in close up, and in split screen in saturated colour; the emphasis is on her body in response to the environment, and the dancer’s many selves. At times both figure and beach are almost indivisible- this is body as well-honed machine. At times, elegiac, at times soft, this is dance framed like visual poetry.
signs of direction by Brian Hartley (2016)
Brian Hartley‘s film of Solene Weinachter’s solo routine on the beach (pictured above) traces the sharp modernist outlines and shapes of her instinctive choreography, bringing a zingy sensibility to the piece. It’s like jazz, ever shifting, ever blurring boundaries in its capricious, kinetic zeal. Hartley’s painterly colourful loops, flashes and curves are reminiscent of Kandinsky, emulated by the soundtrack which weaves jazz inflected soundscapes with post-rock.
We Record Ourselves by Katrina McPherson (2016)
In some ways, Katrina McPherson‘s film is the most like a documentary, charting as it does our very modern need to document all that we do, albeit through the prism of Margaret Morris. But it’s much more complex, not so easy to categorise. Using jump-cuts, the choreographic process in the studio, and the archiving of material (including photographs) McPherson ruminates on the past inside the present.
For more information on the featured artists, visit these websites: