Tag Archives: GOlive Dance and Performance Festival
GOlive at Winchester University
Tipped by Dance Europe as one of 2014’s highlights on the Dance scene, GOlive made its way to Winchester for one night at Winchester University in what will be the first of many visits…
Imaginations Flowing: A Review of GOlive at Winchester University – September 16, 2014
Since the birth of the GOlive Dance and Performance Festival in September 2013 at the Giant Olive Theatre, Kentish Town, its topsy-turvy programme has provided a platform for both new and returning artists back-to-back with an average of five different ‘acts’ per night. This autumn the multi-disciplinary festival presented mixed bills on nine nights over a two-week period in London, plus an additional evening hosted by The University of Winchester on September 16.
The low-key, rough-and-ready nature of GOlive gives it an edge, with artists being showcased in a wonderfully intimate but exposing way. Each evening is entirely unique, presenting a lucky dip of works-in-progress, excerpts of longer shows or short and snappy finished pieces. But it’s the curation of twenty-minute or so works of all sorts that gives this festival its power. With such variety and juxtaposition in GOlive’s palm, its audiences are bombarded with enquiring and thinking pieces that allow for new ‘ways of seeing’ (to quote John Berger) via their order on the programme.
Mamoru Iriguchi introduced his semi-biographical work-in-progress [working title: Marlene Backwards] as a play on the three standard dimensions but with the addition of a fourth – time. Using spoken text and a series of video projections broken by time, space or Iriguchi’s own face as a centrepiece, he distorted the linear narrative of German actress/singer Marlene Dietrich’s life. In this manner Iriguchi exposed the facades created by technology – facades that are easily perceived as absolute through a camera lens. It was when his own technology failed him – and as he moved in and out of character – that Iriguchi’s clunky, awkwardly stop-start performance gained what I believe to be its ‘real’ extra dimension: the falling in and out of perceived reality. As a recording of the same performance (given previously in Germany) was played in reverse, the piece’s formal and visual elements became the focus alongside a screaming sense of dislocation in time, place, and language. Iriguchi was effectively reminding us how fallible, changeable and interlinked our constructed realities and technologies are.
Debbie Lee-Anthony’s reworked autobiographical solo A nice little project (shown in Winchester Chapel at Every Word Hurts on June 26, 2014) returned for several nights at GOlive in London, plus this one-off in Winchester. After handing out biscuits, Lee-Anthony took the audience through a nostalgic sharing of all things nice whilst also exploring the psychological implications of ‘nice’ people. Honest recollection of negative responses to her actions and personality revealed undertones of suffocation and frustration. In other words, Lee-Anthony relived the emotions associated with these experiences whilst describing them through words and dance. The audience was drawn into the dialogue by sharing mutual scenarios of ‘niceness,’ something that would strengthen the unsettling nature of the piece if it were to reoccur as Lee-Anthony’s themes became darker and yet more academic – thus creating possible moments of self-reflection for us.
Hayley Barker (an associate artist at The Point, Eastleigh) brought her second piece Venus to GOlive, a work-in-progress that casually invited the audience to observe closely this doll-like redhead as she grinned and grimaced, chewed, preened and agitated. Several times Barker snacked from a bag of nuts whilst accumulating a jolting movement vocabulary into a distorted, grotesque version of herself. Clear motions were repeated, building up a dynamic tension and a sense of expectation that remained unfulfilled due to this short work’s sudden finish. As Hutera later commented to Barker, ‘I wondered if we’d see you vomit those nuts over the stage.’ Plainly a massive explosion of some kind was anticipated, or possibly a handful of nuts greedily gobbled, dribbled and spat out; there was a mess to be made, or a purging of movement both ugly and cathartic and blurring the line between satisfaction and self-loathing. But the sudden stop to Barker’s piece was powerful in itself, and perhaps said more about the urges and longings that were left in the spectator’s imaginations. Was it not brave of Barker to end her work there and refuse to give the audience its climax? I think so.
Nuno Silva and Sabio Janiak are two other GOlive alumni imported from London to Winchester. In this piece Silva serenaded the audience, some of whom were invited to sit in the round onstage in close proximity to the performers and their instruments. The magnetising Silva quietly introduced each fado, illuminating the Portuguese national song just enough to set imaginations flowing as we reclined into a candlelit world of music at once soulful and comforting as a lullaby. Silva’s constantly circling choreography and intensity as a singer and dancer was trance-inducing. Janiak’s complete concentration creating live music with voice and multi-instrumentals was equally mesmerising. Their collaboration created a whirlwind of emotion, transporting this spectator into another realm.
Sarah Kent, a familiar face in GOlive, brought the house down as she always does. Engaging in a performance ‘conversation’ with her is unpredictable and chancy. Kent’s stream-of-consciousnessis structured and knowing but risks being never-ending. Batty as ever, funny, naughty and completely unabashed, her improvised form of ‘action theatre’ drew in this instance on features of the theatrical and architectural space as she evoked memories and stories from her past. From high-pitched wails to car engines to on-the-spot singing, her use of voice in Winchester was powerful and solidly dependable.
To sum up, GOlive never fails to intrigue and catch you unawares. There’s an oddness of character about this festival which makes each outing – whether in Kentish Town or Winchester – so interesting. Wherever you see GOlive, and on whatever night, you’re guaranteed to laugh, question your own assumptions and be surprised. Hosted by the University, the ‘one-night stand’ in Winchester occurred at what is only the beginning of the festival’s second year of existence. What a treat it was to view both London and local artists together. Curator Donald Hutera’s ‘troupe’ was honest and humble during a post-show talk where the works we’d just seen were dissected and unpicked. Each artist was passionate and eloquent about his or her intentions and process, valuing the dialogue with the audience. With any luck GOlive’s visit to Winchester will turn out to be the first of many to the city…
By Rebecca JS Nice