Many of the previous pieces that I have seen by you have had a unique approach to the relationship between dance and music: the music operates more like a soundtrack to the movement than the guide for the dancers. Is this approach a deliberate strategy, and does Blood, Sweat and Tears continue it?
Yes, I think that you will experience a similar musical relationship to the choreography with Blood, Sweat and Tears. What I am aiming to create is a partnership of vision and sound that has an experience similar to being at the movies.
In a film the music is usually added in post production and the actors` emotional states are delivered clean of aural manipulation. This influences me - the illusion is that they are oblivious to any sound other than their own emotional state.
I think the live effect has its own wonder and I can afford to use more emotional music if the dancer manages not to "emote" to it!
For me, sitting in a studio watching the dancers move while I alone can hear the sound through ipod and headphones is quite magical. I am trying to create an experience where the music is the sound of our empathy with the dancers on stage. The challenge for the dancer is making it look like their body has not been moved by me or music.
The raising of a child is not a common theme for dance- why did you decide to make it the foundation of an ambitious trilogy of dances?
Blood, Sweat & Tears is not so much a trilogy as a work with 3 parts to it. There is The Duet - which is being shown at The Fringe, and the full length work has a cast of seven dancers and will be touring nationally in autumn and spring. As for the content, much of my work has an autobiographical perspective, and this piece was influenced by becoming a first time mother two years ago. The experience was so overwhelming to my life in every way I could not help but put that into work.
I suppose that what I love about the subject matter of the arrival of a new baby and its impact on a couple`s relationship is that it is a very dramatic and yet very common experience. I seek empathy of experience in other artists` work in whatever discipline, and equally that is what I want to offer.
As with other productions, the lighting and costume are critical parts of the choreography's overall impact. At what stage do you begin to explore these factors, and how do they inform the creation of the dances?
I am very lucky to have some completely brilliant collaborators that I
have worked with for many years now. Paul Shriek with costume and design, and Malcolm Rippeth with lighting, and Ben Ponton with sound. They respond to the choreography in its early stages - and I counter respond to what they offer the work in their respective mediums. Together we inch forward to the finalising of the work. I cannot imagine this work without these very important and inspiring people.
You have worked with Scottish Dance Theatre, who are also appearing at Zoo. Do you feel that Zoo has a particular atmosphere as a venue, and one which suits your company?
I am familiar with Zoo Southside through SDT and yes, I have really enjoyed the atmosphere and appreciated their dedication to the work. I have very good memories of working with Scottish Dance Theatre and will be supporting them always and look forward to watching the work they will be presenting this year.
I am very much looking forward to taking our Blood, Sweat & Tears duet to The Sanctuary which is one of the most inspiring venues I have ever been to.
Do you regard your choreography as being part of any particular tradition or trend in contemporary dance? Are there other companies or choreographers that you feel an affinity for?
Oh I love so many other choreographers' work... a really diverse range from Mats Ek, Merce Cunningham, Kenneth Macmillan,Balanchine,Wayne Macgregor, Pina Bausch - all the giants!
In the end I really love dance - in its many incarnations. I don't particularly feel part of any trend or tradition or perhaps I feel the legacy of all them...... I work in quite a solitary way in the North East of England and prefer to respect other people`s work by trying not to copy them and trying to be true to my own vision.
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