Nelson Studio, Sydney Dance Company, Sydney.
September 20, 2024.
This year marks the 10th anniversary of DirtyFeet’s proud Out of the Studio program, and 2024 will bring audiences a triple program to once again showcase and support emerging artists. All artists share new and diverse work that showcases their respective unique voices and backgrounds. The performance is presented in conjunction with venue partner Sydney Dance Company at Nelson Studios, an intimate and versatile space but perfectly suited to the work.
Our evening kicked off with a welcome from veteran Anthea Doropoulos, who provided an introduction to the artist and her work, as well as a heartfelt reflection on a decade of Out of the Studio projects. DirtyFeet’s impact extends far beyond the past 10 years of the program; They have been seeding the independent dance industry and community through all the initiatives they create. So there’s a lot to celebrate and support as they move forward.
Opening triple bill, Amy Flannery pays homage to her First Nations heritage sap(ped). The instrumental sounds, music and vocals she chooses to complement her choreography blend perfectly with her movements. This gives a feeling of connection to nature and makes way for her juice theme. In nature, sap has its own movement and place. Flannery reflects this through the gathering and separation of performers. It’s clear that her respect for the land stems from her heritage and her work.
Vishnu Arunasalam brings us an unexpected dance drama that blends mini-monologues with a collaboration of contemporary and cultural dance mugawari. Through spoken word, he shares his connection to Tamil culture, his relationship with his mother, his name and the importance of his “nose” to his unique story. His story is shared authentically and viewers learn about his family’s separation, adversity and eventual safe migration to Australia. Bharatnatyam is a style of Indian classical dance that draws its characteristics from Arunasalam’s background and training. The use of mudras or gestures captures the essence of his stories and incorporates them into contemporary dance.
At the end of the evening, Emma Riches brought us Tips Lab. This is the only work of the evening with a small group of dancers, who move into the space, taking off and adding clothes, in what seems to be a very sporadic pattern. The soundscape may appear to be just sounds in the background, but if you choose to listen deeper, you’ll quickly realize that this is a recording of the artist in the middle of a rehearsal. This group of dancers are highly skilled in bringing the work to life, allowing themselves to embody improvisational challenges in their choreography. In an artist’s statement, Riches describes her work as “a network of activity”, which it is, and that “no two performances can be the same”, thus stimulating curiosity to see How the sport will evolve in another show. This aspect is indeed somewhat reminiscent of Merce Cunningham Chance method. Refreshingly, the choreographer’s approach, whether similar or completely different, can be shaped and morphed upon, and stamped with his or her own identity. Riches’ dance sound is emerging just as DirtyFeet’s vision intended.
Author: Dolce Fisher Dance information.
