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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


the perfection of submission

varia karipoff: jo lloyd, future perfect

Future Perfect, Jo Lloyd Future Perfect, Jo Lloyd
photo Ponch Hawkes

Imagining the future tends to lead writers and choreographers to similar conclusions, each with their particular aesthetic and philosophy. This includes uniformly attired humans signalling submission to an overarching ideal or identity. Here it is expressed with glittery Torvill and Dean-cum-gothic punk outfits.

Uniformity is an exterior marker of a oneness of mind: a community so in tune it is on the verge of becoming a single organism. Even when the dancers move separately they are like the parts of a clock, working together to achieve an obscure function.

Future Perfect, Jo Lloyd Future Perfect, Jo Lloyd
photo Ponch Hawkes
Future Perfect comes with a loud music warning—Dance Massive 2013 has been punctuated by decibel-heavy beats and has seen sound volume take on a near physical presence. After the sonic punch of Physical Fractals where I cocooned my growing belly with my arms, I googled “do loud noises affect unborn babies?” Thankfully, it seems not. This performance was on the moderate level of aural challenge—occasionally an unpleasant frequency, the pitch a notch above inner ear comfort. This seemed to fit the general picture of discomfort one might experience at a warehouse rave, which was my first impression of the set. The metallic backdrop hinted at the interior of a machine, ripples of light covering the stage as the five dancers raised their arms and faces upward in a kind of religious ecstasy (rather than an amphetamine-induced one). The performers merge to create a kind of Shiva as Nataraja—the multi-armed Lord of Dance. The repeated worshipping arm movements reminded me of old Hindi films where entertainment has a starting point in religious ritual.

Entertainment is high on the agenda; the lighting and set design by Jennifer Hector brings drama in the form of a sci-fi cinema experience to the audience. Screens at either side of the stage reveal 3D animations of the dancers’ faces distorted into pixel galaxies, Rhian Hinkley’s imagery suggesting a kind of breaking down of the individual by technology. While maybe a pertinent point in the concept of future’s ‘uniformity’ or undividedness, it jarred a little with the images of ecstatic unity on stage. Overall though, the production is glamorous and exuberant, crackling with an electric charge, if occasionally suggesting an errant question.

Future Perfect, Jo Lloyd Future Perfect, Jo Lloyd
photo Ponch Hawkes
In Lloyd’s Future, humans succumb to a higher, irresistible force; they map out galactic paths in a fever, they support each other and fit around each other without competition. These high-energy moments wind down to stillness and a disassembling and regrouping. The dancers embody both strength and grace like future perfect bodies and, despite their apparent uniformity, each brings something of the individual to the piece, like characters from a cult movie. I was particularly struck by the fire and efficacy of movement of mustachioed Luke George; he raised the bar on opening night.

Ecstasy means to “stand outside the ordinary self.” Future Perfect is both an otherwordly and out of body, out of self, experience where the dancers finally and repeatedly collapse in on themselves, giving in to the magnetic force of the mass.

Dance Massive: Arts House & Jo Lloyd: Future Perfect, choreographer, director Jo Lloyd, performers Luke George, Madeleine Krenek, Shian Law, Jo Lloyd, Lily Paskas, lighting, set designer Jennifer Hector, music Duane Morrison, costumes Doyle Barrow, projection designer Rhian Hinkley, Arts House, Meat Market, Melbourne, March 20-24;

RealTime issue #114 April-May 2013 pg. 29

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

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