In delicious anticipation of The Australian Ballet's Madeleine Eastoe's second last Melbourne performance, Gracia and I, by way of heartfelt thanks, collaged our bouquet. We borrowed a promotional photo by Georges Antoni with Madeleine Eastoe and Chengwu Guo for The Dream, and went all out with a riot of pink blooms.
(Madeleine Eastoe: A Special Announcement)
In other dance news, the second of Gracia's considered (and amusing too) Dance Massive 2015 pieces has recently been published on Fjord Review.
Head over to read Shout Our Loud and be swept along to Antony Hamilton and Alisdair Macindoe's Meeting, and Rebecca Jensen and Sarah Aiken's Overworld. There are silver automatons! And fancy dress costumes too!
If Chunky Move’s Depth of Field, the beginning of my Dance Massive 2015 marathon, was to show me a seasonal pattern unshaped by human hand, Meeting revealed a pattern defined by sixty-four small-scale robots whilst Overworld writhed in a chaotic pattern of YouTube fragments tethered to the four elements, earth, air, fire, and water. The tenuous link between these Dance Massive performances is solely that of my own programming: one night, two performances seen back-to-back, separated by an hour, at the North Melbourne Town Hall.
As with all festivals, cinema, dance, or otherwise, the festival patron looks for common threads in the works they’ve elected to see. Processing, reeling, and ruminating, before bouncing to the next performance: what is the best palette-cleanse? Perhaps the answer lies in making myself something of an automaton using the technologies of homeostasis. Perhaps with a stack of programmable cams at my core, stable equilibrium could be maintained. I’ll let you be the judge.