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“Metamotion for 270degrees” loosely departs from the biblical story of Salome. The work approaches the young, dancing female body to touch upon myths around femininity in western art history, in conjunction with christianity and the implemented cancellation of that character. Hovering in and out of those images, the performer enters into dialogue with different objects, times, references and narratives and switches roles, being its facilitator, user, friend, sparring partner. At the same time being its subject, the performer is a labourer continuously constructing architectures of imaginations, made out of the physical and metaphysical aspects in the space. The work tries to understand the necessity of keeping a myth alive while at the same time trying to decompose it, such as the relevance of doing so in front of an audience gaze. During a journey of investigating those matters, the performer is entering realms of sensorial,material, emotional, animalistic, architectural and narrative conjunctions while experiencing its own twisted projections, as well.
The work features references of movement artist and actor Terry Notary ( “planet of the apes” and “the square”) such as performance artist Oleg Kulik, sounds by various artists from the archive freesound.org (listed below), Michelangelo, Rodin, the anamorphic skull in the painting “the ambassadors” by Hans Holbein the younger, such as the entrance sound of “the gate” by Björk, whom she is referring to in an interview as following:
“Also, I used a vinyl album of Venezuelan music I had, [Heku- ra–Yanomamo Shamanism From Southern Venezuela], that was recorded in the ’70s—Venezuelan birds. The birds there sound completely different. They sound like R2-D2, or techno. There’s one beautiful sound that ended up in the beginning of ‘The Gate’, a recording of these birds that Venezuelans believe are the ghosts of fetuses. If they have stillborns or young children that die, they think they go into the jungle and make these sounds.” (Read more at http://www.nme.com/news/music/bjork-recorded-birds- sounded-like-r2-d2-new album-2160172#8a0Gf0mflvwzBesO.99)
Credits:
Choreography and performance: Toni Steffens
Set design: Toni Steffens, Frits van Diehl
Costume: Avoidstreet
Lights and technic: Martin Kaffarnik, Vincent Romijn
Sound edit: Toni Steffens
Featured artists in order of appearance:
Björk (The gate), Jovica aka Jovica Storer (freesound.org) Akumasanti ( Little Dragon Pretty Girl xxx) Leosalom, Pan14, botha9johann, arseniiv, copyc4t, RebekahDay (freesound.org)
Production: Stephanie Luehn, Charlot van der Meer, SNDO Amsterdam
Advice: Mehraneh Atashi, Katerina Bakatsaki
Warm thanks to : Michael Scerbo, Ana Vujanociv, Andrea Zavala, Sigrid Stigsdatter, Michele Rizzo, Renee Copraij, Rodrigo Sobarzo, Stefa Govaart
Reviews:
There are more than 50 subspecies of the Australian jumping spider. Each one of them has their own unique dance routing, performed by the male spider under the judgmental eyes of its female chosen one. The female assesses the dancer and chooses to be either mounted, simply walks away with disinterest, or kills and eats the male dancing lover. At times, she even chooses for a combination of those scenarios. It is assumed that the dancing behaviour is genetically hardwired, rather than “learned”, making the jumping spider a natural born dancer. Certain studies show that female spiders of the jumping spider species Portia however also dance. They do so not in order to seduce their potential mates, but instead mimic the males dancing routine, to protect their nest or wear off other spiders. So while the male spider pursues dancing as a flamboyant act of seduction, with the hope to inseminate the female at the risk of life, the female spider learns, masters and even perfects the males dance routines, using improvisation and trick movements, like unexpected pauses in the routine to ensure her peace of mind, her own life and/or that of her offspring. Wether for war fare or intercourse, dancing comes into play as a decisive moment in a spiders life. A tool, a weapon, a communicator, a trickery and a mastery. While the male spider dancing its courtship dance has been plentiful documented, the female spiders dancing behaviour and how it came to do so is still subject to debate. May it be perhaps, that the female spider is the ultimate dancer in disguise? Is it not her who has the final saying over the life and death performance of her potential lover? And isn’t it though her perfecting the choreographic steps, enabling her to protect her own offspring, that she is elevated into being ultimate judge over wether his hardwired dance that she’s ought to pass on to the following generation, is even worthy enough of her own craftsmanship, and the way how she reverse engineered his dance moves to turn them from a flirt into a fight?
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