Over the weekend I was in London trying to write promo for our new duet. Robin says how it is also about the primal nature of beauty!
..yes I like to write poems too.
The point at which it last made sense
Concept and Choreography: Nick Bryson, Robin Dingemans
Performance: James O’Shea, Rosa Vreeling
“I feel you living in a cloud that is dissipating
I feel your cruise control switching off.
Flocking to the closing doors
And waiting for them to open
Is some kind of closure for you?”
What if the advertising agencies are correct and we all do have an endless capacity to ingest product placements and subliminal references to beauty products and ingenious uses for cotton buds and handy wipes? By agreeing to abide by this form of capitalism in its worst inane spiritual vacuum, “The point at which it last made sense” attempts to fast track us through and hurl us out the other side. In doing so, the work picks up the current trends in art trying to highlight contradictions in how we all live in our consumerised world, when It is clear that our current recession is a mere shower, a precursor and understudy to the worst of the rain.
The dance work infiltrates and grapples with our image culture, giving the viewing public an overdose of a post joyful, post intimate, post ironic world. Through a series of hypotheses and extraordinarily arresting images and startling poses of a beautiful young couple, we are dropped slap -bang in the middle of our commercialised maelstrom. This is a place where we have utterly dispensed with the pain of confronting ourselves and replaced it with an anaesthetised numbness. …Even in the face of the impending downfall of our economic stability.
This is a highly self-conscious step, deliberately positioning the dance work on the upslope in our orgy of gadget-ed connectivity. “The point at which it last made sense” drives us up and over and onto the down slope, where we might unambiguously seek tranquillity, a restored resting place of love and natural perception.
What is on the other side of the constant psychobabble, the other side of irony, in an overly surveillance-ed world, is a place of uncertainty, but a place where we must not fear to tread.
And so “The point at which it last made sense” carries the dance mantle of the Dark Mountain Project and ‘uncivilised dance’, where an apocalyptic perfume commercial has lost its footing at last. Casting an English wheelchair-abled James O’Shea alongside Dutch Rosa Vreeling, the message is “Do not even think of getting a mortgage” in this day and age “plan, recruit, train, educate, provide support. …and rest.” By deliberately portraying a beautiful man and woman who cannot function without each other, the dance piece catapults us beyond our enfeebled and soporific globalisation, espousing connectivity and community to a found and shared future.