Interdisciplinary: To What Extent?
I don't think any artist is merely just one type of artist. We are constantly exploring new things, whether it's adjacent practices to our base practice or venturing out into new disciplines. My tension has always been in every growing curiosity I have, reaching out, growing, and losing my base practice. What is my base practice and how does it restrict me but also allow me to find the ground from which I can explore?
I write this in an attempt to both map out my 35 years of artistic practice and also to explore what those tensions and moments of release are as I gather and expand different disciplinary practices while returning to the practices that I know best. I will detail the different work I have done over the years and then end with explaining a graphic score that I have recently devised to outline how the different works and disciplines I engage with dance with each other.
My art practice has evolved over time. My mom put me in Portuguese folk dance when I was five years old. Learning the dances of my culture was foundational to my understanding of who I am today as a performer and community-engaged artist. But, at the age of eighteen, I wanted nothing more to do with the 'old school dances.
I thrust myself into the theatre landscape -- going to musical theatre school, writing shows, and acting in shows. At this time I also began exploring mask work, and physical theatre and was testing what public interventions & engagement were as I dawned masks and strange costumes and set out onto busy streets to interact with the public.
At twenty-three I moved to Thailand to teach English (post-theatre school graduation) and expand my understanding of the world. It was there that I found restriction in my practice; I could no longer rely on English text & storytelling. There was also no space for auditioning in English. I did eventually find an outlet with a group of ex-pats who ran the Bangkok Community Theatre out of the English Club. This didn't feel enough. It was limiting. I wanted to create my own work. I was then approached by the curator of Whitespace Art Gallery, Maitree Siriboon, to present a performance at their anniversary party. I took up this challenge and gathered a mix of foreigners and local Thai performers to put together "29.30.31" . The piece was intentionally political and looked at the freedom of speech in Thailand associated with lèse-majesté laws in the country. This work ignited my creativity and from there I started New City Collective, a devised performance company that worked with physical performance, images and collective creation. Integrating video projection and live performance into site-specific work was the essential art ingredient for these works at the time.
During this time, I encountered the dance of Butoh through a workshop led by Terry Hatfield. Butoh Dance was born in
Japan in the late 1950s by Hijikata Tatsumi and Ohno Kazuo. What struck me by this dance form was the difference in structure from the '5,6,7,8' jazz, tap, and ballet forms. Instead, this form, or at least the way I was taught and interpreted it, focused on bringing images of nature into the body as choreography. Imagine: ants on the face; wind through the trees; bird on a rock near the coast. This method of interpreting natural objects in the body gave me a new language to create choreography and text.
Eventually, I was called home, back to Canada. I had reached my capacity for learning and teaching overseas and wanted to finally attain my undergrad Bachelor of Fine Arts. I didn't want just another acting degree. I wanted to create my own work. I was granted entrance into the newly established BFA in Interdiscpianry Performance at The University of British Columbia - Okanagan Campus. This was a major turning point. I began to truly embrace my interdisciplinary nature, which at the time was a mix of physical performance, video, and site-specific work. I ended up exploring beyond that, taking my work into sound installations, internet live stream work, graphic design, sculpture, and painting. Tools that, at the time, I felt I could maintain. However, I was so eager to keep learning more art forms that I was beginning to focus on what was sparkly and new, rather than remembering what my base was. When I graduated I described myself as a projection design expert focused on live art and new media. I did a series of residencies in Portugal in this vein but something wasn't feeling authentic to me. I was reaching for stars and forgetting about the Earth I come from.