Another project with long term collaborators Lila Dance, creating concept images for their new dance work The Hotel Experience.
I’ve been working with Lila Dance again over the last few months on a new immersive dance performance called The Hotel Experience. Here are some shots from my photoshoot with them in the Creation Space at The Point. I love dance photography and when it is always interesting to try to capture the themes of the show in photoshoot. One of my key aims was to use flash photography to freeze moments in time or motion, illustrating how the hotel is a place of transition. The show has a magical element to it, that the hotel itself feels somehow alive, and i’ve tried to show this through the surreal look of bodies floating above the bed. Let me know what you think in the comments below.
Wow, what a flying start to 2013. Only a month has gone by, and amongst the snow and rain, I’ve already been involved in some fantastic projects. First there was Metsä, a short art film with Bella Kardasis, shot and recorded at Stanmer Park on a frosty morning; then the Mayakaras, Lila Dance’s fantastic youth dance company; followed by a live performance on Brighton & Hove Community Radio; and then following straight into recording the soundtrack for Yael Flexer’s new work Weightless.
Bella Kardasis and I set the tone for the year with a site specific collaboration with Wigglyline Productions. We filmed and recorded a structured improvisation live and on-site at Stanmer Park when there was the first light frosting of snow over the country. The results, I hope you will agree, are beautiful, and my eternal thanks go to Josh and Liam for doing such an incredible job filming the project.
Lila’s Youth Dance company, Mayakaras, are an ever changing and inspirational group of young people. It is our privaledge to work with such hard working and wonderful teenagers every year, and this year is no exception.
This year we have launched a tumblr site to record our process, and their journeys as we develop a piece together. It is fantastic to have a permanent record of their experiences on a public domain, and I hope that they will look at the site in years to come and remember what incredible things they achieved as such young and mature people.
Brighton & Hove Community Radio
Thank you Caroline for having me back on your show. I had hoped that I could anounce a new album release date when I booked the show but unfortunately i am still a fair way off finishing my second album. Never-the-less, I played a couple of new tracks including Kyo, and a track as yet untitled. You can listen to the show on mixcloud:
Last and by no means least, I have been working on Yael Flexer & Nic Sandiland’s latest soundtrack for Weightless, which premieres at Salisbury Art Centre on the 13th of March. It’s an upfront and witty contemporary dance peice celebrating and re-living 20 years of the companies existence, and i’ll be sure to post more information as the project develops.
Those of you who follow Lîla Dance’s work will know that we are two-thirds of the way through making our new piece The Incredible Presence of a Remarkable Absence. This is the fifth soundtrack I have made for Lîla Dance, and is all set the be the longest and most exciting work yet. The piece takes Lîla into a more physical theatre world, taking inspiration from Samuel Beckett’s Waiting for Godot, to create a tragic-comedy that shifts between, absurd, vulnerable and bittersweet scenarios.
The score contains lots of field recordings- the South downs, particularly Devil’s Dyke, provided some beautiful recordings of birds and crickets, and during our residency at Pavilion Dance, I put my waterproof trainers to the ultimate test and stood at the water’s edge on Bournemouth beach recording a ferocious wind.
Tim Scarlett came to the Creation Space at The Point, Eastleigh and recorded some elegant and fascinating cello improvisations. The track also contains some trade mark Dougie Evans guitar, although this time recorded on a Fender Strat electric guitar.
Our last two weeks together will be extremely busy for me, as we try to link up the sections and find subtle and appropriate cues to guide the dancers through the piece. As is always the case when composing for contemporary dance, it will be important that there is a balance of sound design and composition, so that the music never says too much and lets the performance speak for itself, whilst retaining continuity so that the music is never a shock when it takes the foreground.
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