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Limited Copies





The Serious One. | Franko B | Michael Gove | George Orwell | Arthur Pita | | 2Faced | Compagnie 111 | Juan Antonio Bayona |



Is s u e 9 | Apr i l 2 0 1 3



LCDS Goes Forth - Collaboration at the Conservatoire.



2084 - by Declan Whitaker.



Don’t look EBacc.

Gove scraps the EBacc but creative subjects remain at risk.

10 - Taking on the Impossible. Emilia Gasiorek tackles disaster cinema. 13


Take Your Dance Somewhere Else!



London International Mime Festival.



Reviews: Deborah Colker, Arthur Pita and Dreamthinkspeak.

20 - Garble Over Lunch, With Franko B. 26 - Manifesto. 27


Video Corner.



What’s On? - In Dance, Art and Theatre.


+ Read the full issue at WWW.ISSUU.COM/LCDSGARBLE + On Twitter - @LCDSGARBLE + On Facebook - WWW.FACEBOOK.COM/LCDSGARBLE + For Submissions, Email us @ LCDSGARBLE@GMAIL.COM


Victoria Guy and Francesco Ferarri performing work by Nina von der Werth at The Friday League. See pg13.


Editor’s Note. Welcome to Issue 9 of Garble, the independent magazine from students of London Contemporary Dance School. It’s been a long Spring term. Maybe that’s because spring is actually yet to arrive, and the antarctic temperature is taking your vitamin D deficiency to a whole new level. However, Easter is here, lets put all the marks, auditions, stuffy opinions and censorship to one side, and take three weeks to lighten up a little. The dance world won’t seem so dismal once you’re back staying with mom. This issue, for your reading pleasure we have an interview with legendary performance artist, Franko B, a discussion of changes within the education system, an Orwellian post-apocalyptic novella, some disaster cinema and plenty more. This is a very serious issue.



James Morgan



Kit Brown Emilia Gasiorek Celina Liesegang Rosalie Spawls Declan Whitaker Sophie Morgan Jack Sergison Elise Nuding

Special Thanks to


David Steele Jo Littledyke LCDS

Cover Image: Franko B shot by Hugo Glendinning

The Garble Team:



Last term we hosted the inaugural Conservatoire for Dance and Drama Student Conference here at The Place. It was a rare chance for students from all of the eight affiliate schools to meet (that’s RADA, LAMDA, Bristol Old Vic, Circus Space, NSCD, Rambert, Central School of Ballet and LCDS). There was representation from the breadth of subjects studied in the Conservatoire with actors, technicians, costume designers, writers, ballet and contemporary dancers and choreographers in attendance. After meeting and greeting each other over breakfast we warmed up


for the day with some workshops from Bristol Old Vic’s Head of Voice, Carole Fairlamb, and LCDS’ own Rick Nodine. The afternoon was slightly heavier with a panel discussion on the topic of collaboration and then a range of group discussions on topics suggested by students. Some of the topics considered were more hypothetical whilst others were very practical with lots of knowledge being shared on how student life, training and representation operates at each institution. As the first event of its kind the Conference was kept small and manageable so unfortunately only a few representatives


from each school were allowed to attend. servatoire gave the schools the chance to However the conference now looks set to recruit students based on talent rather than become an annual event with the potenwealth and enabled the recruited students tial to grow and attract more participation. to train with government support. Further, out of the conference and the links it has created and will create we hope that At the CDD’s staff conference in January fellow students might Tim Roberts from Cirfind more reason and cus Space delivered a means to collaborate. provocation. He asked There was certainly a those in attendance to desire to build links look forward and imagacross the student ine what other purposbody at the Conserves the Conservatoire atoire. One attendee could serve. For more has kicked off the colthan a decade the CDD laboration with a day has transformed trainof knowledge sharing ing opportunities for at RADA, organising many and encouraged talks on the techniskills and knowledgecal side of theatre for sharing between staff. non-technical ConAs our training and servatoire students. our discipline becomes There have also been increasingly influenced discussions about by the other performsetting up a Student ing arts maybe the next Union across all the Above - Kit, James, Emilia and Suzanne Burlton step for the Conserva(RADA) at the CDD staff conference. Oppositeaffiliate schools. toire should be colLyn Gardner, Peter Farley, Theron Schmidt, Simon Ellis, Emma Gladstone, Wendy Houstoun at laboration and sharing Some of you reading the CDD Student Conference Panel Discussion. between and by the (particularly new stustudents. dents) may have no idea what the ConservThe student conference can be watched in atoire is or what it does. For those of you full on Moodle - make sure you log in as a that don’t know the CDD is an affiliation of guest: eight top drama and dance schools including our own. It was founded in 2000 to se cure Higher education status and funding php?id=3358 for our training, protecting what the schools do and enabling students from all economic backgrounds to train. Essentially the con-



he Moderniser’s headquarters loom formidably in the smog. An unstylish atrocity, designed thoughtlessly - fit for its purpose but no more. A giant structure of concrete and steel that intimidates the very sky in which it presides. It emits a misery that slithers these city streets and oozes into the lives of us all. Wretched are these times. Grey and dank and unrelenting... No joy is to be found in this city. No laughter. No thrills. The people of this city are slaves to its master. We work “for the good of the economy and the Moderniser”. Tripe. We work to enforce the Moderniser’s repugnant morals, to bleed dry the laughter of children and castrate the hope of the downtrodden. The Moderniser and his Politiks lead a different life to my own or my neighbours. Living in clinical luxury to the west, they are outliers. Travelling into the city for business and out again when their legal misdemeanours are complete. They associate with the common to demand, instruct and sneer. Rarely, a 5th level commoner will receive a grunt of acknowledgement from a low grading Politik, if indeed they encounter at all, but this is rarity more seldom than cocoa. The common, like I, live in prison-like conditions. Row upon row of identical skyscraping blocks house individuals in single, all-purpose rooms, that define the Eastern districts. The Politiks remind us daily “Efficiency before affinity”; inter-common-relationships are seen as something to defile the Moderniser’s master plan. Interaction with another commoner outside the workplace is strictly forbidden. Sharing thoughts, ideas, emotions is punishable. My objective is to work for an economy which bears no positive relevance on my existence. I reap no reward. Work and sleep. Repeat. An existence close to insanity and envied only by the outkast. Those who have expressed an ‘Innovation’- Crime #1 - are shunned to the haunted reaches of the city and the lowest cells of the Headquarters, for a life even more empty and fruitless than my own. The city wasn’t always like this, they say. There are few that recall whispers of memories from a time before this. Driven mad by poverty and neglect, their accounts are never lucid but provide comfort and hope on days when there is little else... At rationing in the 14th month just passed, an Elder more aged than I had ever encountered refused his stock. The crowd was



Declan Whitaker huddled as always in City Square, forming a circumference of starving and embittered souls around the statue of the Great Gove. The Elder, I quickly realised was protesting. Shouting out words that seemed to have been extracted from a prior age. Of course he was restrained immediately and taken, undoubtedly, to be questioned. The crowd barely seemed to notice. Numb with cold, or frightened to be associated with the maverick, they turned away and waited for their stock. Whether through madness, or another unidentifiable urge, I realised I had began to follow the restrained man and his captors. They made an easily followed path through the crowd and as I emerged into the open, with the icy wind on my face, I spotted the unlikely trio slipping down an alley way off Second Street. I followed and on entering the deserted alley I began to hear raised voices. The conversation was muffled by the hum of the city and the inebriated shouting from the Politikal Bar adjacent, but I grabbed snippets of the exchange. Theeatur? A man called Sadler. He has a wishing well? I inched closer, conscious that my breathing and footsteps seemed to have amplified, desperate to hear more. The captors had raised voices now and were digging for more information. There was a Garden. Of Covents. With a house for the Oppra? The man’s words seemed from a Children’s pamphlet and though I couldn’t comprehend, I believed he was truthful. The Sinnema? Galirees? Musik? My mind began to race, trying to identify what the crazed man was referring to. A thud, a scream and hasty footsteps and the conversation had ceased. Cautiously, I turned the corner. So had the man. For a moment I froze, considered the outcome should I be caught in this predicament and moved as swiftly as I could back to City Square and the intolerable sight of The Great Gove... That night in my room, through the fuzz of the 6 o’clock bulletin, I couldn’t help but replay the conversation from the alley way. The man spoke of a by-gone time, of Theeatur, Oppra and Sinnema. Were they the great leaders of his time? Perhaps three famous Politiks? His childrens names? Whatever they were, he was forbidden to talk about them and travesty though it be, his silencing gave me hope. +




| Text By Rosalie Spawls | Last month Michael Gove, the Secretary of State for Education, backed down on his proposals to scrap GCSE’s and introduce the English Baccalaureate Certificate (EBC) to secondary schools. This was a huge achievement for all who were campaigning to protect the provision of arts within secondary education, as no arts subjects were included in the five core subjects within the EBacc. However, with the provision of creative subjects in schools safe guarded, there still remains the issue of their relative value against so called ‘academic’ or ‘facilitating subjects’. Gove has already implemented a new league table system, confusingly also called the English Baccalaureate, which is


a measure of how many students achieve good passes in a mixture of subjects regarded as crucial to education, which currently doesn’t feature any arts subjects. Figures published in 2011 showed that in more than half of state secondaries, fewer than 10% of pupils achieved this at GCSE and since its introduction there has been a trend in schools removing creative subjects from the curriculum. Many arts organisations are currently campaigning against these measures, which will allow comparison of secondary school’s performance in the EBacc subjects both at GCSE and A level.


As dancers we are all aware of the benefits reached an institution such as The Place, or another respected arts establishment that of studying a creative subject and we do not judge our degree as inferior to that of a they found their confidence and sense of self-worth. A famous quote sums up the subject considered ‘academic’. We definitely work as hard, if not harder at our medium ability of our education system to undervalthan those studying sciences, maths and ue pupils by placing disproportionate value onto subjects not all students excel at; “EveEnglish. In addition many of us were introduced to dance through our secondary rybody is a genius. But, if you judge a fish by its ability to climb a tree, it’ll spend its whole education or had the chance to study dance in secondary schools life believing that it and colleges. I know is stupid.” Although a varied education is for me, I wouldn’t be where I am today very important, why do the arts still have such a without having come into contact with low status in secondary dance in my secondeducation? Shouldn’t students who excel in ary school. The idea of young people missthe arts be valued just as highly as those who ing out on discovering their potential excel in sciences? The in a creative subject creative arts in the UK I wish I could ask Misuch as dance, because it is not valued chael Gove to spend a week in a parallel uniin the curriculum as highly as ‘academic’ verse, with a complete subjects, is a tragic absence of culture and creative arts, before he thought. Something played down in the Above - The man of the hour, Michael Gove. makes his next decision on the future of our campaign for creative Opposite - illustration by unknown author. subjects to remain education system. part of a varied curFor more information, to join the campaign riculum, is that young people’s ability varies in different subject areas. For many creative and sign the petition against the EBacc league tables visit www.baccforthefuture. people who excel in their field; be that music, drama, dance or design, their intellect com may not have been able to shine in subjects such as maths, sciences and English, and academic schooling may have made them feel inadequate and unconfident. I know from associating with a creative community that for many, secondary school did not allow them to excel and it was not until they




A couple of months ago I saw the trailer of personal intimacy or one that deals with for “The Impossible”, the film depicting the a subject of high moral values how do they devastating impact of the 2004 tsunami, tackle this issue and where do they fall on and found myself questioning the moral- this line? There are numerous films, like ity behind films and whether in their deal- “The Impossible”, that take the story, meming of a story they could cross a ‘line’. Ini- ories, and recollections of the ordinary pertially what I found hard to grasp was who son in the face of natural disasters or horrifwould want to see ic events in history the film, and what (think of “World people would exTrade Centre”, pect to gain from “Schindler’s List”, such a film. To the “The Boy in the extent that the film Striped Pyjamas” may have an eduor even many war cational purpose movies) and turn I felt there were them into a moving far better ways of picture. Why? Why achieving this. To are they made and the extent that the why do we go to see film was intended them? as a way of paying respect to those Naomi Watts, as Maria in ‘The Impossible’. The ‘why are they that had been afmade’ is probably fected by it - again “I can’t imagine that they would quite simple – most I could think of want to relive the event in such movies are only many a better way made if they are to do so. And for a commercial context.” likely to be a comthose who had mercial success. been affected by it I couldn’t imagine that Having said that many directors also make they would want to relive the event in such movies for more than commercial reasons. a commercial context. The ‘why do we go to see them’ is, on the face of it also simple. I would suggest that This line that I tried to draw was my way most often we go to the cinema as a winof questioning if and at what point do films dow onto another world; to spectate upon, lose their morality. When they take a story learn and understand more about human


Juan Antonio Bayona’s ‘The Impossible’ - As the Tsunami hits.

life. Some argue it is a form of escapism, to find liberation from responsibility and simply watch the people and events unfolding on the screen. There are plenty of sci-fi, dystopian and other-worldly films that remove us far from our lives. We go to experience feelings and sensations which don’t occur in our daily lives; films clearly play with heightened emotion and reality – how many times have you seen something and said “well that just wouldn’t happen in normal life!”? We also go to the movies to be educated. We are often inadvertently reminded of the human condition. We want to learn about something, an event that occurred or someone else’s experience of something. I would argue that as humans we want to and desire to empathise and see ourselves in others. But then to apply this idea to “The Impossible” is where I felt uncomfortable. It reminded me and veered close to the

schadenfreudian concept of pleasure due to others misfortune. Why is it that with Lance Armstrong’s recent fall from grace (his own admission to use of drugs) that a novel is out and a biopic to depict his disgrace is planned? What is it that we relish and feel we can gain from other people’s tribulations? It’s like social rubber-necking. Having seen “The Impossible” (for the purpose of this article) many of these concerns were actually quashed, however others were raised. The film deals with a sensitive subject very beautifully. The scenes of the tsunami are incredibly powerful; in the moment before it breaks there is a sense of calm and the film seems almost as if played in slow motion. We suddenly become aware of the whistling wind and feel the build up of the water as if it were to come thundering forward from the screen or the back of Continued over the page...



the cinema. The rest of the film depicts how, in the aftermath, people and communities pulled together. This works on many levels; in the micro community of the Bennett family where the eldest son becomes a physical and moral support for his battered mother and the macro, the Thai, community are seen searching, driving and caring for survivors, in short helping save lives.

again. We feel that the film has a happy ending because the story of the central characters is resolved. However this cannot be applied to everyone, and in the case of the tsunami, for most people it was not a happy ending. Despite this we seem to always follow the story and the events, for good or for bad, which befall the central character of any film. But when the film is about something that affects the mass, and is supposedly a true story, and when the story provides an outcome that was atypical, for me it calls into question the sense of catharsis I expect at the end because the truth is, the film is portraying is a distorted truth.

This however is where I would highlight the film’s limitations. I found it too narrow in the way it dealt with a disaster that affected so many lives, families and communities. It focused too much on the micro and not the macro. From the very outset of the film, the fact So how can we draw that it has a cast of a line? We can’t even The Boy In The Striped Pyjamas, Director - Mark Herman Hollywood A list acstart if we don’t isotors, it chose to take late why we watched a European perspecthat particular film. In tive on something other words it comes that affected many back down to our own more cultures. In remoral compass. Disasality the film is actuter movies are always ally based around the popular. Not necessarstory of a Spanish, not British family. I guess ily because we relish others misfortune but what I’m questioning here is why does westbecause they are this window onto another ern cinema rely entirely too heavily on a cast world, highlighting and elucidating human of European actors, especially in the face of condition and experience. Ironically it is ala story which doesn’t belong entirely to that most impossible to draw a line or isolate speculture. It felt as if the stories of the Thai peocifically why we go to the cinema. There are so ple; the extent to which their lives, homes, many reasons and personal opinions. For me, economy and environment were ruined, were to quote Joseph Campbell (American mytholside-lined. It throws too strong a spotlight on ogist) I find that we go to seek “an experience only one set of victims. We watch this famof being alive… so that we can actually feel ily become swept up in the chaos, struggle for the rapture being alive.” + survival and finally their finding of each other EMILIA GASIOREK

“It throws too strong a spotlight on only one set of victims.”


Francesco Ferarri and Victoria Guy performing work by Nina von der Werth at The Friday League.

TAKE YOUR DANCE SOMEWHERE ELSE! | Text By Celina Liesegang and Rosalie Spawls | Despite recent adverse weather conditions, the winter sun has been making a slightly more regular appearance, as should we! Although for many of you this will not be a revelation, I think that it is worth reiterating that outside the walls of The Place, Sadler’s Wells, The Royal Opera House etc. there is no shortage of places where we can watch dance, or even perform, that don’t necessarily include a stage! With London being one of Europe’s largest cultural metropolises, we have access to a wide range of internationally acclaimed dance performances on our doorstep. However with the little time we have to spare as it is, we can often get into the rut of checking “What’s On” at the usual suspect websites and these may end up being the only things that we go to see. With site-specific work becom-

ing more accessible (due to weather), and live performance art becoming more prominent (i.e. Tate Modern tanks, Spill Festival), its time to start seeing what else is happening outside of our sphere of influence! For undergraduates there aren’t a lot of opportunities for choreography that don’t fall within either the “youth dance” or “professional” categories (i.e. YDE’s Young Creatives and Resolutions!), and at least the ones that are there tend to be as part of a competition for theatre style venues. However there are multitudes of chances for us to experiment with choreography and performance outside the usual confines of the stage (many of which are proposed to us on Moodle believe it or not!) e.g. Site-specific, gallery spaces, social dance platforms, film etc. Continued over the page...




Creating work for these individual environments can manifest a number of distinct challenges, and lead to entirely new experiences for performers and/or choreographers. It also gives us the chance to expand our audience, (many of whom perhaps know only of contemporary dance through the much-loved “So You Think You Can Dance”...) and get feedback from people outside of our of our often marginalised discipline. Most of all, its a chance to have fun, and enjoy experimenting with the skills we’re constantly exploring within the institution, without the pressure of “marks” or “what will everyone think”?

Things to see: A Bigger Splash: Painting after Performance at the Tate – 14th November 1st April

An informative and dynamic exhibition which explores the relationship between performance and painting in the second half of the 20th Century. Featuring work by Jackson Pollock, David Hockney, Yves Klein and a range of diverse artists who have experimented with performance and theatricality in their approach to painting. 14 | GARBLE

We all know the feeling of coming to choreograph some work and feeling completely devoid of inspiration and when we spend most weeks staring at the walls of studio 4 and not much else, it’s no wonder we get stuck for ideas. So in order to keep your creative mind alive this spring, Rosalie has strung together a list of fantastic exhibitions and events London has to offer this spring and find some inspiration, and I have also included some of the events mentioned above. +

Dancing around Duchamp at the Barbican 14 February - 9 June

This season at the Barbican explores the impact of Marcel Duchamp on a generation of artists including Merce Cunningham, John Cage, Jasper Johns and Robert Rauschenberg. Featuring dance, music, theatre and cinema. At its heart is the major exhibition - The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns This is a must see as the gallery is host to performances of Cunningham’s work by LCDS students, graduates and RADC.

Ten public lectures on philosophy, politics and the arts at Central Saint Martins – 31st Janurary30th May

Spill Festival at various locations in London, including the Barbican – 3rd April -14th April

A collaboration between the Centre for Research in Modern European Philosophy and The London Graduate School with Central Saint Martins. Thursdays 6-8pm at Central Saint Martins Lecture Theatre in the Granary Building, Granary Square N1C 4AA. Étienne Balibar pictured above.

“Spill Festival of performance is an international festival of experimental theatre, live art and performance presenting the work of exceptional artists from around the globe.” Tickets can be bought with ‘FreeB’ (Barbican) - if you don’t know what that is you’d better check google! Pictured above is Empress Stah, performing at the Soho Theatre on 10th April.

BMW Tate Live: Charles Atlas and Collaborators at The Tanks at Tate Modern 19th March – 26th March

The Friday League at Bethnal Green Working Mens Club, 42 Pollard St, London Borough of Tower Hamlets, London E2

Artist and filmmaker Charles Atlas has a week-long residency in the Tate Tanks performance space, exploring dance and media with work by Merce Cunningham and collaboration with choreographers, performance artists and sound artists. Watch both ticketed performances and open rehearsals.

The Friday League is a night of visual and performance arts held every few months. Cheap drinks and an eclectic range of work makes this a really good night out, and an amazing place for young artists to present work in a less pressured and precious environment. Check Facebook for the next event. GARBLE | 15


| Text By Sophie Morgan |

In 1977 producer Joseph Seeling and mime artist Nola Rae founded the London Mime Festival in order to expose British visual theatre artists around the country. Now called the International Mime festival, the eighteen-day event includes some of the worlds most impressive and innovative companies around 25 different venues in London. This year these venues ranged from theatres in the West End to the Natural History Museum consisting of live art, puppetry, physical theatre and object theatre. At first the audience may interpret the title ‘mime’ as a performance of gestures through


silence. Original mime artists were well known for creating images using their hands and facial expressions. However this idea has developed and mime no longer uses stereotypical movements but instead involves daring pieces of choreography and questions political and cultural themes. French company Compagnie 111 performed a piece of mime that explored the use of its set and what limits they could take it to. A tilted platform was the central performance space for the artists as they explored the idea of weight and gravity. The Southbank Centre’s program note referred to the set design


as “a source of tricks and transformations,” where the piece “unfolds like a dream.” For this company, mime has become an expression of creativity through humor and spectacle. They entertained the audience by creating illusions on stage. This was seen in a section of the piece involving a projection of live movement that took place on the stage. They managed to suggest that the man moving was in fact floating in space and had no connection to weight or gravity. This was obviously a false impression and had everything to do with weight and gravity.

expressive and daring way. The ‘Old King’ moved parts of his body into visual deformities and he suggested isolation from society due to him being different. As a piece of mime one would expect the drama to be simple and with barely any use of set or props. However the performance relied on these theatrical elements. Water, dirt, plants and wood were all part of the action that took place. The ending involves Runa attempting to use language to communicate with his audience. However language fails him and he is forced “to face the unknown,” (director’s notes.)

‘The Old King’ by This years works Miguel Moreira show how the visand performed by ual art form has Romeu Runa was developed since it staged at the Royal began in ancient Opera House’s LindGreek times where bury studio. This performers were shocking and innoreferred to as silent vative piece created Above - ‘The Old King’ by Miguel Moreira and comedians. Nowaa discomforting and Romeu Runa, Opposite - Plan B by Compagnie days the use of disturbing atmos111/Aurélien Bory. space, technology phere amongst its and even speech are audience. Referred explored when creating innovative pieces of to as a visual display of mental disorder by mime. Used for an expression of political a psychiatrist in the audience, the physicaland social themes, today mime is no longer ity and exploration of the performer had no for only comedic value but yet another thelimits. The director commented in the proatrical medium in which artists can express gram notes that he wanted to explore “when themselves. Go to for and why things fall down and disintegrate.” more information on this years and next This piece of mime certainly explored this years events. + idea through drama and movement in an


REVIEWS. Franz Kafka’s 20th century, seminal novel The Metamorphosis was, for a very limited and sold-out run, transformed by ex-New Adventures dancer Arthur Pita. With the lead role of Gregor being danced by Royal Ballet principal, Edward Watson I settled down to be wowed. The piece tackled the narrative literally, which for dance didn’t work to it’s advantage. Aside from a short prologue, Watson spent the duration of the piece as the transformed arthropodan creature, as described in the novel: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.” This seems like a very interesting place to begin researching movement and casting Watson is a perfect choice. His hypermobile, hyperextended, hyperarticulate insect-like contortions are impressive, but by placing the transformation scene at the beginning of the piece, Watson’s character develops as minimally as his vocabulary. In a dream sequence, three gimp-suited performers smother the stage and Watson in a black Declan Whitaker goo - a smart concept that fully realises Watson as the wretched insect.

The Metamorphosis Arthur Pita @ The Linbury Theatre

The piece was slick and felt quite modern in it’s design. Simon Daw’s clean and clever monochromatic set separated Gregor from his family physically and figuratively and Frank Moon provided a sound score that aided the dramaturgy in abundance. A large dash of racial stereotyping left me questioning Pita’s integrity. Three Orthodox Jews enter, as the three ‘bearded’ lodgers from the novel, just after a particularly dark scene. It seems their performance is used as light relief, dancing a take on a traditional Horah. The strange comedy of the scene sits uneasily against the melancholy of the piece. Although I enjoyed The Metamorphosis, on reflection it was superficial and underexplored.

Tatyana - Deborah Colker @ Barbican

Kit Brown


Tatyana is Brazilian choreographer Deborah Colker’s contemporary adaptation of Eugene Onegin, the verse-novel by Alexander Pushkin. Colker doesn’t normally create narrative works and Tatyana is arguably no exception. Even with the synopsis I struggled to follow the plot. Of course, this isn’t necessarily a failing - dance of this kind has neither the means nor the need to express the specifics of plot. Tatyana however adds little comment, depth or perspective to the story and it is danced with a stiff-backed and artificial precision that strangles any sense of character. The soundtrack to the first act is one huge non-sequitur, an awkward mash-up of music from classical pieces to jungle drums and minimalism. It culminates in a rather tame duel, in which the antagonists’ weapons of choice are a fan and a cane. They chaine and twirl at each other until the loser arches in his dramatic death throes in the victor’s arms. The second half is a little more tasteful. Tatyana is light on intellectualism and shallow in its approach to Pushkin’s novel but the dancers are good and the choreography is lively. If you’re looking for a deep reflection on Eugene Onegin’s themes or some comment on human nature then stay well away. If you want to see some very able dancers doing what they do best then by all means try your luck.


In the Beginning was the End - Dreamthinkspeak @ Somerset House Elise Nuding

I’m wandering through corridors, wondering though rooms. There are two distinct worlds here: the dark underbelly, full of secrets, shame, and hidden obsessions, and the corporate world, bright, shiny, over lit. I emerge into it from the darkness, blinking. It’s all smiles and salesmanship, a world where technology equals progress, but where employees are driven to nakedness. Back into the dark and damp. It seems more honest, more real, despite the presence of solitary, still figures dressed in black, staring emptily into space (but then in the contemporary dance world, isn’t this sometimes considered normal…?). The figures freak out some, who shriek and quickly stumble through these seemingly abandoned spaces. I like them, and want to stay here. Located in the evocative spaces of Somerset House dreamthinkspeak’s In The Beginning Was The End deals with questions of materialism, technology, prophecy, and the effect of time on culture. Big ideas, for sure, but since they do not concern themselves with conveying a particular message, it works. Recurring motifs act as loose threads, linking the spaces across time, allowing individuals to make their own connections, to reconcile their experiences. Or to not. This site-immersive theatre production is an important reminder that dance does not have a monopoly on conceptual, body-oriented performance. The performers hold animated conversations with us, and each other, in multiple languages. But no English. I understand some, but not all. I like this—I don’t want to be told anything too concrete, but I want to be part of this conversation that is as meandering, troubling, and delightful as the spaces in which it takes place.

Starting the bumpy road down a dance career has many hiccups, but as performers we have traits that seem to get us by: a slave-like mentality to our work ethic, a reptilian-like resilience, but also a lack of awareness of our own limitations. Every day we get challenged and thrown into a studio where we’re encouraged to hurdle the metaphorical wall. This is why it’s an interesting subject that 2Faced cover in their new work ‘Out of his skin’ – what happens when we find a wall we can’t jump over? It’s an ugly question that we seem to deliberately ignore or accept. 2Faced tries to offer an answer with the use of a multi-leveled Jack Sergison platform; we see the performers live through their personal victories as they scale it level by level, only to plummet to the ground after reaching the peak.

Out of His Skin 2Faced @ The Robin Howard

There are nice contrasts throughout between the virtuoso moments of scaling the tower and moving together with their trademark fusion of urban-contemporary. The performers seem isolated from one another as they move through an area divided by squares of light, or are executing stunning high-risk lifts and duets. With a run-time of an hour, it feels like this piece can sometimes lose its message in the movement content and if cut shorter would be an incredibly crisp work, however, it capitalises well on the ideas it puts to the audience.


FRANKO B | In conversation with James Morgan |

Franko B, the infamous performance and visual artist talks dance, art school, bleeding and robotic polar bears...

....................................... JM On your website you say that you come from a visual art background as opposed to theatre or live art, so I’m intrigued why you came to perform in a theatre such as the Place? FB Time is precious, there is no point in trying to specialise - I mean, based on what? You just say the things you need to say and then you move on. I like the idea of challenging the work, taking it into a different environment and challenging the audience instead of just serving a cosy corner, or a salloto - a living room, that you kind of create for yourself and nurture over the years. Everything becomes fascist once it gets established - it’s crap. I don’t want to do that, I want to move on and feel like I’m not arriving anywhere. If you arrive you are dead. A lot of artists do this, they build a reputation and they hold on - it kills them. And I think I’m good at not doing that.


JM Maybe that’s something to do with your lack of discipline - as you said in the post show? FB Yes! I can’t do it, I’m not a rational person. I say to people when they say I’m difficult: yeah I know, I’m very difficult! JM You presented this new work in a theatre, and if it isn’t a piece of theatre, I wonder what it is that you think makes it not theatre? FB Well, what is theatre? JM I was just thinking that your presence on stage was very different to what a theatre audience might be used to seeing, you showed a different kind of vulnerability. FB Yeah. I’m not an actor. I think the difference is that I’m an image maker, and I’m interested in making an image rather than telling a story. In a way that’s what theatre is, telling stories - real or recognisable or not. Although, the work is very autobiographical. In a way I try to take an image from a memory that I have, and just try not to fall apart totally while I’m doing it. Its not easy not to fall apart. JM I felt really invited into your experience, emotionally I guess.

FB Yes, it’s difficult though because I don’t get emotional when I try things out. But then when I get in front of the public I fail. I fail, but it is good. Sometimes it is too much maybe, but it is difficult to keep it together. I think the difference is that you have to have a presence, but that presence doesn’t require you to act or to pretend to be what you are not. Performance is a very uncomfortable thing -- Hey, how are you? Yeah, I’m good. [A guy in cycling shorts interrupts us to say hello - It is clear this is Franko B’s home turf.]


“An artist to me is someone who is dysfunctional, and in a way art communicates for them, or is their best defence.“ ...................................

FB He instructs at the gym I used to go to. I went to the gym for two years. I still try to do it now, but before I decided to do this show I decided to lose weight. I had to lose a lot of weight because I wasn’t fit and I had a personal instructor. I lost 22 kilos or something and now I’m just trying to stay fit, you know, to keep doing what I’m doing. JM I guess that brings me onto the next thought. As dancers we are inevitably concerned with our bodies as art, a concept you obviously share. Would you mind describing your relationship with your body? It is simply something which is a medium or tool in order to make or present work, or is it where you derive inspiration? FB The body is a canvas to talk about the things you need, or have to talk about. And its something you’re often not really in control of. Its something you have, and which you learn over time how to be able to use to say more the things you want to say in the moment, than what other people project onto you. And yes I agree, the thing with dancers - I know some dancers, they tend to be obsessed with their bodies in a weird way. JM An unhealthy way? FB Its not up to me to say what is unhealthy or wrong, but certainly, people have different aesthetics. I mean I’ve never slept with a dancer, they’d probably freak out about somebody like me - or be embarrassed probably. I tend to go out with artists, who are more

like me, though of course still very different. I think there is something autistic about people who make art. An artist to me is someone who is dysfunctional, and in a way art communicates for them, or is their best defence. Anyone can be an artist if they think they are an artist. Someone who makes very nice cakes can be an artist. The moment we start to worry what is art and what isn’t or what is real and what isn’t we can get lost. Essentially most people I like, they are really dysfunctional people. And when people I meet are really good artists aesthetically, but they behave like businessmen, that’s what they are, you know like Jeff Koons, or whatever. JM You talk about the artist as a kind of, disaffected person, but do you think suffering or pain, is also essential? FB I think everybody suffers. It doesn’t matter where you come from, what upbringing you had, everybody suffers. People just have a different awareness, I mean you can avoid it, and of course you can take drugs and self medicate. At the moment I’m on medication because I find it difficult to cope with life and my anxiety. Generally people think I’m a happy chappy, but you know, how can you be happy? Maybe it’s also my age, but every day you have to have a reason to get up.

‘Because of Love: Volume 1’, 2013. Photos by Hugo Glendinning.

JM I was actually going to ask you that question - what gets you out of bed in the morning? FB My dogs. I have responsibilities. I have two dogs and I am in a relationship now. They give me love but they also give me discipline, which I need. JM You said last night in the post show that this work isn’t so different from your earlier stuff, the blood letting and other more loaded, or spectacular material. You also talk about language a lot when describing your work and I wonder if you think of this as a different language?


Franko B performing ‘I Miss You’, 2000 - Malmo, Sweden. Photo by Manuel Vason

FB No, I think I use different strategies maybe, but not language. I don’t think there is such a thing as different language. I think maybe you have a different depth or understanding, but it depends where you are in your life. I talk about the same things - existential, personal things, my responsibilities to myself and to the world. It’s personal work and that doesn’t just mean airing your dirty laundry in public. I think-[We are interrupted and I am introduced to another of Franko’s friends who is passing by.] JM You’re a very popular guy! I’m curious why you only did one date at the Place, when you sold out so quickly? FB Well it’s a long story. I did a showcase for Laban, but then I fell out with them - I didn’t like Laban. They said do a showcase and if we like it, we’ll do it. So, the showcase was for free and after that they said no thanks, we can’t afford you. The Place heard about it and said they would be interested. I think they thought it would be difficult to get people there because people tend to put you in a box - because you’re performing at a dance place, none of the people who follow your work are going to come, so they were relying purely on dance students to come. It would have been empty if I didn’t have a following. When it sold out they asked if I could do another show on the Monday and I said no, I’m not going to rush, and I’m glad I didn’t. I’ve got two dates in


London at Toynbee [Arts Admin], in November, and I’m changing the piece again. JM What are you changing? FB I’m getting rid of the fox scene, and I really liked the way the bear just fucked up, so I want to finish with that. JM I loved the guy running down the stairs to turn it off, that was great. FB It was real! It’s like what Tim Etchells, my friend said, never work with children, never work with animals and now, never work with robots. And I agree. JM So ‘Because of Love’ was developed in dialogue with Gilles Jobin and Tim, right? FB Well with Gilles, I went to him and asked, would you advise me what not to do, and how not to hurt myself. I didn’t want people to think I’m trying to do dance. It was good learning what I could do, what my body, my age and my shape could do, and also what was irrelevant to me. The movement needed to describe images I had, like punishment and childhood and I tried to learn how to do something that wasn’t tacky. JM I guess it’s something very different to what you usually present because usually you just have one image - something that carries a lot of material just in its being. This stuff seems so much quieter.


FB I think I bleed more now. Now it is much harder to keep it together - the blood before was so much about the technical side. JM I’m sure you had to focus more on the physical reality of the task. FB Yes, now it is much more emotional. JM And I think you could tell - I felt very emotional, particularly in a couple of scenes - like with the repetition of falling off the bed onto the floor. Maybe that was my theatre brain kicking in actually - the lights descending on such a beautiful image, it really appealed to me.


“Never work with children, never work with animals and now, never work with robots.”

FB That’s interesting, I like the red, because the red is a reference to the Rothko painting, but I just thought what happened with the bear was the end. What the foxes were supposed to mean is still too intimate and I haven’t been able to translate that, where the bear is much more clear. The bear is my father figure, but the idea of the fox was a way to acknowledge my dead friends, people I have lost. As I drag this sled around, they fall off and I pick them up and try to make peace with them. But I think the new end is the bear going crazy - I leave and the lights go to a red silhouette. Then I think it would be fantastic. In theatre that fuck up would have been a failure - imagine, ohh the show is ruined! But actually I said you know what, that’s great. I think that’s why Steve likes to work with me, because I’m not going to have a tantrum or blame people because actually I needed it. Not that I think things happen for a reason, but it was a moment of genius in a way - language and nature colliding. You can do fuck all about that, you can correct those moments if you want to, but why try?


FB Yeah, that was probably the most theatre thing in the piece. It was also certainly a cue to tell me to move onto the next image. I don’t usually use cues. With this piece I just moved from one place to another and things change around me. Its a different way of working. And also, the good thing about Steve Ward, the brilliant technician, is that he understands that I can be unpredictable, but he trusts my unpredictability. Two hours before we were going to show we got rid of stuff. I got a wall of tiles made in Italy, and I said to him I’m not happy, so today I dumped it. He didn’t ask me if I was going to change my mind because he knew I wouldn’t. Don’t hold on to stuff just because you paid for it. Money doesn’t make the work. Unfortunately, I say that but the bear was thirty-three thousand pounds to get made. But that’s life, fuck off. The fox heads, which I’m not going to use again were another two thousand. JM What was it about the fox scene that didn’t work for you? I spoke to a few people afterwards and a couple said that it was their favourite moment.

‘Because of Love: Volume 1’, 2013. Photo by Hugo Glendinning.

JM So maybe you should work with robots? FB Well, maybe you should, but I tell you that robot was crazy. JM Who is it your art for? FB Its for anyone who wants to see it. The point is that I’m dealing with language, like a poet or any other artist. I am presenting a series of images dealing with a subtle language which I can’t control. I always say to my students that you have to focus on your intention, but it doesn’t matter for anyone else. You have to be clear for yourself but then once you’ve done that


Stitchings from ‘I Still Love’, 2011.

and you’ve told the story that’s interesting to you, then its not any longer concerned with you. I can say my work is about this, but you turn around and say no, your work is about that. I say fine. The existence is in your memory, I can’t own that. And I think if you try to, it risks becoming propaganda. I always say that we work with language that already exists - we just appropriate it, and once it leaves us it becomes somebody else’s language - collective. Whatever you are going to do or write about it [the work], or how people will talk about it, I’m just a coincidence. In the end I think art is a virus, it is a language that cannot be stuck down, even when its written - it is not what it says it is. JM In your documentary for your work you talked about the battle between having a career and still being a person, and the hoops you are forced to jump through to make art... in training. Do you think art school is dead? FB No, but it depends on the institution. And it also depends on the person, on the chemistry. I think essentially they are there to create a platform, but the unfortunate thing is that the people who teach there might just do it because its a job, you know? It pays somebody’s mortgage. In education its very rare to find someone who’s a brilliant teacher and a brilliant artist. I would rather find a brilliant teacher and know he is a crappy artist. If you cannot share then who cares? It is dead. When I was a student they were


often too arrogant for their own good, and not generous, not sharing, and I guess in a way that inspired me not to be like that. I get a lot from my students - there were a lot of them there last night who travelled from Italy. Its like a family. People don’t just do things because you pay them. JM So what are your students like? FB I teach sculpture in Italy and at the beginning I got people that were really like, oh my god, this guy’s gonna kill me - they were totally traditional. One of them said “I want to be an artisan”. I said I’m not here to teach craft, I’m here to talk about art. If you want to be an artisan you are on the wrong course. Not because it is your fault, but because I cannot teach you that - ask for your money back. But he didn’t move on and he makes interesting stuff now. I get on well with his family because they think I opened up another world for him, which I guess I did, because otherwise he would be making... JM Pretty sculptures? FB Yeah, also working for somebody else. Actually in a way that is what he’s doing right now, working in a quarry for a big, famous sculptor. He was telling me, its a lot of hard work, and I say yeah, but he [the artist] doesn’t even do it - he gets you to do it. JM A lot of artists do that, don’t they? FB Yeah they do... I do everything! [Laughs] I stitch you know? JM Yeah, I love your stitchings, there’s something very innocent about them.

GARBLE OVER LUNCH ...................................

“In a thousand years who is gonna know, or give a shit who Damian Hirst is?” ................................... FB Also I like the idea of men stitching, in this patriarchal society. And presenting something that is usually craft, as art - I’m using craft language to make art. JM Which I guess is the opposite of what your student wanted to do - presenting art as craft. FB Yes, that is it - he thought that craft was the artwork. And actually he really believed that with sculpture you have to get dirty, you have to sweat, and now that’s he’s doing it for somebody else, he says- shit... It’s a really heavy job. I say, where is the art? JM It’s funny, that kind of reminds me of the relationship a dancer and choreographer often have - you can end up giving yourself up to serve some other persons idea. Then is that really art, for you? FB When I started this project I met this teacher that taught classical ballet to kids in Italy and she put me through what you were supposed to do - it was crazy. She invited me to see the kids [perform], and I said no. I don’t want to be witness to what you call this mutilation, really. Its funny when people say about my work - you are extreme. Your [points to JM] life is extreme! JM You could say waking up at 6:30 every single day to get to ballet class is mutilating. FB Definitely more so. JM I have one last, quite morbid question I’d like to ask. What will you do with your body when you die? FB I don’t care. I don’t give a shit. It doesn’t matter once you are dead and I’m not worrying about that. One moment the light will go out and I will not have memory. I don’t believe in an afterlife. All this offering will be done. In terms of time we are all irrelevant - in a thousand years who is gonna know, or give a shit who Damian Hirst is, or Tracy Emin. Time is timeless. Why do people want to have legacy? I’m

not worried about putting my work in museums, just so people can masturbate when I’m dead. This is the problem, a lot of people are so insecure - and I’m not saying I’m not - that they want to be remembered, as a decent artist or whatever. JM It feels like such a shame we place so much importance in what people think of us, feeding our art-ego. Like - are people going to like it? Am I going to look intelligent or interesting, or useful?

‘Love In Times of Pain’, 2010. Photo by Colin Davison.

FB But, I quite like the idea of useful. The way I try to make sense of what I do is that, maybe its delusional but, like society says a doctor is useful, I think that what I do is another approach to being useful. To whoever needs or wants it. Last night I fed you. Tomorrow you go to another restaurant. I guess my one fear or insecurity is, I don’t want to feel mediocre. But then I guess someone like Michael Clark could look at me and say you are mediocre. I’m not trying to do what he does. I look at him and I think I would have gone to see him once, not any more. One thing for sure is to feel mediocre would upset me. But I don’t feel mediocre. Of course you have to create a safe environment, but within that you have to be able to go out aswell, otherwise you just get comfortable with everyone patting youJM And saying how great you are. FB For five minutes anyway. Growing up hurts, and you never stop growing up. It doesn’t matter if you are 22 or 60, the moment you stop questioning you are in mediocrity - dead. I’m not waiting to die. I find it difficult to live, but I’m not waiting to die. +


MANIFESTO | Text by James Morgan |

+ I will maintain a sense of humour, and an ability to ridicule myself and what I do. + I will not take myself too seriously. I will not be self-righteous. + In gaining experience, I will not forget what it is to be young and less experienced. + I will not be ashamed of what I was once, or the things I have made in the past. + I will learn the meaning of the word satire. A week or two ago, several LCDS first years made a video called ‘Manifesto’. It was an amusing singing/dancing parody of ‘Candy Shop’ by 50-Cent, with cheesy autotune lyrics gently poking fun at contemporary dance: “I’ll show you what a dancer does, we roll around on the floor because, we do contemporary dance, Laban don’t stand a chance”. Forgive me, but when I first saw it I laughed, quite a lot actually, and then I was relieved. Relieved that not every first-year, or dancer in any part of their career for that matter, takes contemporary dance 100% seriously. It now seems the ever-stuffy dance world is jumping on the omg-it-was-a-travesty bandwagon, complete with fire and brimstone. The video did feature footage of a lecturer from LCDS who I believe hadn’t given consent, so smacked bottoms for you, naughty first years. However, the amount of crap these guys have received for making what is essentially a silly video, is completely disproportionate to its intent. The most sad thing about this whole ordeal is that the creators felt compelled to/were asked to remove the video from YouTube. The ever-cynical and self-righteous Article-19 (well, Serena Morgan on their blog section), obviously had something to say about it all: some patronising spiel about considering one's actions and not pissing off one’s superiors in the contemporary dance world. They also pointed out


that the title is a tad misleading, which is true, it isn’t really a manifesto. Well done, you are cleverer than a couple of 18 year-olds. The point I think everyone is missing however, is that this was a JOKE. Of course, it’s not a work of satirical genius; it was a spoof video quickly thrown together for a cultural studies task. Nor was it to everyone’s comic taste. But anyone who interpreted this as a genuine proposition, or as a spiteful dig at contemporary dance, is just plain wrong. C’mon guys, its satire! In the video they pretend to ‘mime’, spreading their hands on the windows, they roll rigor mortis-like across the floor, and they pretend to ‘be a tree’: how could anyone possibly think this was a serious comment on contemporary dance? (It almost seems futile to say “and so what if it was?”) As for those who were offended by the dig at Laban (ooh, burn), the harmless one-liner only served to point out how silly any rivalry between the two schools is. The whole video is littered with similar in-jokes: the hilarious opening image, a sultry strut toward the camera, pyjama’d girl wielding a cigarette, for example, which hits the nail on the head. No matter how much you preach about YouTube being ‘the public domain’, if you didn’t get the joke, it probably wasn’t meant for you - get over it. +


“LA FWAY” - A Bad Lip-Reading of Beyoncé’s Inauguration performance.

In 2012, We Made This Happen...

Does what it says on the tin - its hilarious. Check out the Spider Man lip-reading on their channel (BadLipReading).

The Place have made a really great summary trailer of the best works presented last year - there’s credits at the end if you want to look something up.

The BELLY Of The Beast

Miranda Sings: Story of Easter

For all those who missed BELLYFLOP Magazine’s programme of dance at Sadler’s Wells, naughty you. But all is not lost - they have created this lil video, complete with trailers and some excellent talking. Find on Vimeo or on the Bellyflop website.

Miranda Sings is the funniest thing on the internet right now. Probably. Check out the rest of her channel and watch a whole evening disappear...

SONIA SAYS: One day your life will flash before your eyes. Make sure it is worth watching.

What do you have to say to Garble readers for your (probably) last issue, oh wise one?


What’s On? Our Top Picks...


2nd April: The Hypothetical Tour of Nowhere @ Surya, Kings Cross - the eclectic evening of dance, blues and folk storytelling comes to a bar on Pentonville Road. LCDS Alumni Jacob Hobbs presents ‘Hallo Spaceboy’, a hilarious flight through the last few minutes of an astronaut’s life. 5th - 7th April: what_now 2013 @ Siobhan Davies Studios - Examines how location, displacement and context affect choreographic practice, with three days of performances, screenings and installations. 6th April: Oblivia - Entertainment Island @ Soho Theatre - Exploring the murky depths of popular culture and entertainment, this Finnish performance company comes to present as part of Spill Festival, creating vibrant tension and humour in their genre-bending work. 11th - 13th April: Fabulous Beast Physical Theatre @ Sadler’s Wells - ‘The Rite of Spring’ and ‘Petrushka’ make up an intoxicating double bill which celebrates the 100 year anniversary of Stravinsky’s masterpiece, and continuing Sadler’s’ season: ‘A String of Rites’. 17th - 27th April: The Place Prize Finals @ The Robin Howard Theatre - Your last chance to see the four finalist works of Riccardo Buscarini, Eva Recacha, Rick Nodine and H2Dance, as they perform with the potential of winning £35,000. 23rd April: Female Choreographers Collective - The Experiment @ Laban Theatre - Six pieces of work with three male, three female choreographers. An experiment which gathers feedback from the audience, withholding the creator’s gender. 23rd May: MDX Dances @ ArtsDepot - This year’s programme from Middlesex University graduating students, includes Robert Cohan’s Stabat Mater directed by Anne Donnelly, Doris Humphrey’s Passacaglia directed by Lesley Main and new works by Helen Kindred and Scarlett Perdereau.


5th April: Descent - Shorts @ Rich Mix - Descent showcase original scripts by up-and-coming writers. The plays can take any form and cover any topic, presented by a comedic compère. 9th April - Nov: ‘Once’ @ Phoenix Theatre - This Tony Award-winning musical challenges the meaning we assign to the word “musical”, skilfully dodging “tits and teeth”. Based on the film of the same name, it revolves around a bar in an Irish pub, where performers never exit, but become the musicians. 10th - 20th April: Cheek By Jowl - Ubi Roi by Alfred Jarry @ Barbican - Named ‘one of the worlds most influential companies’ by Time Out, ‘Cheek By Jowl’ present this brutal and uncompromising 20th century satire about greed and abuse of power. 30th April - 6th July: The Generation Game @ The Yard - A festival of new work, featuring two pieces per night, for just £10. Featuring a solo about a fox, a post-apocalyptic costume shop drama avec ‘Killpussy’ and the unlikely trio of Margaret Thatcher, Marilyn Monroe and Virginia Wolf. 1st June - 31st August: ’Sweet Bird of Youth’ @The Old Vic - Your chance to see SATC’s Samantha Jones (Kim Cattrall) live in action as the leading lady of a Tennessee Williams play, which explores the “destructions of [the] dreams” of a Hollywood has-been.


8th Feb - 16th April: ‘Movement and Gravity Bacon and Rodin in dialogue’ @ Ordovas - Small exhibition presenting the first ever links between Francis Bacon and Auguste Rodin, examining closely Rodin’s effect on Bacon’s work and looking at the two artist’s portrayal of the body and movement. 21st Feb -16th June: ‘R.B. Kitaj: Obsessions’ @ Jewish Museum London - A selection of over 20 works by British figurative artist Kitaj. On at both Jewish Museum London and Pallant House Gallery Chichester. 20th March - 7th April: Max Mara Art Prize for Women @ Whitechapel Gallery - This prize nurtures female work and presents a new commission by Laure Prouvost, an installation inspired by the sensual and aesthetic feel of Italy, commenting on the historic idea of visiting the Mediterranean for artistic inspiration.

Profile for Garble

Issue 9  

Issue 9 of 'Garble', the Independent Publication from Students of London Contemporary Dance School

Issue 9  

Issue 9 of 'Garble', the Independent Publication from Students of London Contemporary Dance School