Aspects of Alterity as performed by Gearshifting Performance Works, at the Gas Station Arts Centre, November 16, 2012
Reviewed by Stephanie Adamov
From the first beat of John Cage’s music, Aspects of Alterity thrust the audience into the world of Jolene Bailie. Her choreography used dance and motion in a way that provided a language to illustrate those intangible moments of the human experience. The emotion subtly embodied through movement in this work was a salute to Bailie’s attention to detail and overall created an impressive display of modern dance.
Alterity is a philosophical term established by Emmanuel Lévinas. The term implies a sense of ‘otherness’ and that a subject has the ability to distinguish between self and not self. Therefore, the subject has the ability to perceive alternate view points. This is illustrated through Bailie’s chorography by the contrast of different kinds of motion during the different segments of her production. It is a continuous thread that weaves through her abstract choreography.
The five highly energetic and focused performers included: Branwyn Bundon, Jillian Groening, Nina Patel, Krista Nicholson and Emma Rose. The precision exhibited by each dancer as they launched and landed from great heights was a phenomenal spectacle. Intricate combinations were executed seamlessly and flawlessly from full body wave-like entrances contrasted with stationary leg suspensions. Bundon’s robotic arm movements and Patel’s fluid solo along with numerous moments of group uniformity of motion were definitely a delight.
Despite the highly physical and demanding nature of the piece, the dancers were never out of breath. The incredible focus they each manifested never once faltered.
The dancers through their energetic movements in the work illustrate the complex and fine line between order and chaos. The variant rhythms and monotonous music seem to reflect the sound of a heart beating. This incredible life force has the potential for the audience to be on the edge of their seats or to be entranced by the movement on stage. The sudden changes can be jarring, but it all reflects the theme of ‘otherness’.
Each dancer has trained at the School of Contemporary Dancers where Jolene Bailie is a guest instructor. They were incredibly cohesive as an ensemble and seemed to have an inherent knowledge of each other’s bodies. Due to the exceptional variety of lifts and poses performed in modern dance, it is easy to see why this is a sought after quality for a group piece. Several times in the show, the dancers formed what seemed like a human jigsaw puzzle. The use of levels in coordination with the trust in each other made for a versatile display.
The perfumers in conjunction with the signature lighting design of Hugh Conocher seemed to glow on the stage. Conocher’s noted emphasis on side lighting exemplified the contrast of light and shadow. This design technique highlighted the muscles of the performers and attested to their individual strength as artists.
In establishing the story, the lighting translated dance transitions for the audience. Effortlessly the performers would be guided by the use of lighting to a different segment of the fifty-minute performance. The white painted floor and backdrop allowed for the contrast of the dancers in their futuristic linear white and black body suits.
As a creator, Jolene was inspired through her own lived experience for Aspects of Alterity. She believes that the way in which we handle those intangible moments can speak volumes about our individuality. Though we all have different experiences that have the ability to leave us without words, Jolene believes that there is great strength achieved by working though these life-altering events that hone our identity.
In addition, Aspects of Alterity was also inspired by the geography of the prairies. Gearshifting Performance Works often creates pieces that stem from the psychological reactions to the environment and reflect upon observations within Canadian lifestyles. Aspects of Alterity presented a very flat, white painted floor that paid homage to the blanket of thick snow seen just outside the Gas Station lobby windows.
The creation was influenced by Bailie’s lived experience in the harsh and extreme prairie landscape, as well as inspired by her relationship with the late Rachel Browne. The passing of this iconic dance figure was certainly a huge loss to the dance community but hopefully will spark more works and creativity such as Aspects in Alterity within the dance community.
Aspects of Alterity as performed by Gearshifting Performance Works, on November 16, 2012, at the Gas Station Arts Centre, 445 River Ave., Winnipeg MB.
Otherness, Snow, and Defying Gravity
Columns
Aspects of Alterity as performed by Gearshifting Performance Works, at the Gas Station Arts Centre, November 16, 2012
Reviewed by Stephanie Adamov
Alterity is a philosophical term established by Emmanuel Lévinas. The term implies a sense of ‘otherness’ and that a subject has the ability to distinguish between self and not self. Therefore, the subject has the ability to perceive alternate view points. This is illustrated through Bailie’s chorography by the contrast of different kinds of motion during the different segments of her production. It is a continuous thread that weaves through her abstract choreography.
The five highly energetic and focused performers included: Branwyn Bundon, Jillian Groening, Nina Patel, Krista Nicholson and Emma Rose. The precision exhibited by each dancer as they launched and landed from great heights was a phenomenal spectacle. Intricate combinations were executed seamlessly and flawlessly from full body wave-like entrances contrasted with stationary leg suspensions. Bundon’s robotic arm movements and Patel’s fluid solo along with numerous moments of group uniformity of motion were definitely a delight.
Despite the highly physical and demanding nature of the piece, the dancers were never out of breath. The incredible focus they each manifested never once faltered.
The dancers through their energetic movements in the work illustrate the complex and fine line between order and chaos. The variant rhythms and monotonous music seem to reflect the sound of a heart beating. This incredible life force has the potential for the audience to be on the edge of their seats or to be entranced by the movement on stage. The sudden changes can be jarring, but it all reflects the theme of ‘otherness’.
Each dancer has trained at the School of Contemporary Dancers where Jolene Bailie is a guest instructor. They were incredibly cohesive as an ensemble and seemed to have an inherent knowledge of each other’s bodies. Due to the exceptional variety of lifts and poses performed in modern dance, it is easy to see why this is a sought after quality for a group piece. Several times in the show, the dancers formed what seemed like a human jigsaw puzzle. The use of levels in coordination with the trust in each other made for a versatile display.
The perfumers in conjunction with the signature lighting design of Hugh Conocher seemed to glow on the stage. Conocher’s noted emphasis on side lighting exemplified the contrast of light and shadow. This design technique highlighted the muscles of the performers and attested to their individual strength as artists.
In establishing the story, the lighting translated dance transitions for the audience. Effortlessly the performers would be guided by the use of lighting to a different segment of the fifty-minute performance. The white painted floor and backdrop allowed for the contrast of the dancers in their futuristic linear white and black body suits.
As a creator, Jolene was inspired through her own lived experience for Aspects of Alterity. She believes that the way in which we handle those intangible moments can speak volumes about our individuality. Though we all have different experiences that have the ability to leave us without words, Jolene believes that there is great strength achieved by working though these life-altering events that hone our identity.
In addition, Aspects of Alterity was also inspired by the geography of the prairies. Gearshifting Performance Works often creates pieces that stem from the psychological reactions to the environment and reflect upon observations within Canadian lifestyles. Aspects of Alterity presented a very flat, white painted floor that paid homage to the blanket of thick snow seen just outside the Gas Station lobby windows.
The creation was influenced by Bailie’s lived experience in the harsh and extreme prairie landscape, as well as inspired by her relationship with the late Rachel Browne. The passing of this iconic dance figure was certainly a huge loss to the dance community but hopefully will spark more works and creativity such as Aspects in Alterity within the dance community.
Aspects of Alterity as performed by Gearshifting Performance Works, on November 16, 2012, at the Gas Station Arts Centre, 445 River Ave., Winnipeg MB.