I already had established I wanted to explore self-expression in my final major project, but I needed to get a broader view of what directions I might explore. I began by considering the different associations of the inner and outer self, to understand how I might investigate their relationship.
It seemed to me that there were lots of ways in which the outer self can make known or express the inner self – e.g. through behaviour, gesture, grooming, ritual, touch etc. But too there were some elements relating to the outer self that might frustrate or obscure this – such as cultural norms, comparison with others, beauty standards, restrictions, and indeed gender. Reflecting that, if I am to explore self-expression I would need to do so as myself – a woman – I wanted to explore too the factors relating to identity in this gendered case.
I feel I barely scratched the surface (and this by no means counts as some proper feminist/gender theory – merely a brain dump in the moment). But it helped to coalesce in my mind that there are various societal structures that obscure the female self. Who am I really if I stripped away the gender roles and behavioural conventions expected of me? How would I act? How much of my personality has been shaped irrevocably by the expectations and experiences of my gender from early childhood?
So it seemed that to adopt a gendered lens to my exploration of self-expression might be an interesting path to pursue. But I was keen to move beyond the male gaze topic I had previously explored in my contextualising research of earlier units, and not only explore literal self-portraiture. I want to explore expression specifically – of thoughts or feelings – to make the inner world apparent.
I knew this would bring me back to the world of abstract expressionism, where I had previously learnt of Lee Krasner in particular. I was excited to learn that there was an exhibition on the 9th street artists at Gazelli Art House in London, who I had been reading about back in Unit 1, so went along to see some of their works for myself. Below are some of the works I liked most from that exhibition:
It is intriguing that several of my preferred pieces were by Grace Hartigan, she seems to here have particularly intriguing use of colour.
This coincided with a performance I learned of through an instagram post (below). The idea of natural barefoot dance defying the social norms of the day intrigued me, so I decided to attend the performance!
It was fascinating to learn about this pioneering woman, whose tumultuous life was immortalised in film, who led a sea-change in the approach to modern dance. She was opposed to the unnatural restricting and painful movements imposed on ballet dancers (who are intended to produce the appearance of floating on air), and instead sought a freedom of movement that expressed the innermost spirit, hoping to inspire individuality and authentic movement for all. As such she was a proponent of improvisation in dance, and was often danced in response to great musical pieces.
She was inspired by ocean waves, and the poses of Ancient Greek sculpture – from which she also derived her flowing fabric costumes.
There were 3 performances at the Barbican that night. One was a restaging of an original Duncan choreographed piece – The Dance of the Furies (with 5 dancers). The Second was Five Brahms Watzes in the Manner of Isadora Duncan, a choreography by Frederick Ashton that took on the style of Duncan (A solo piece). The final piece was a new work developed specially for this Barbican bill, which was inspired by this technique, called Unda (with 6 dancers).
It was entrancing to watch these dancers across the various pieces. I was particularly moved by the solo piece, in which the expression of the dancer was most apparent.
The group pieces were fascinating, though I found it more difficult to glean perhaps a clear expression in the Unda work, it seemed more of a narrative to me (around friendships forming, routine, death and loss). There was an interesting use of water in it – dripping from above into large washing bowls placed around the set. The finale of the piece involved the dancers ‘washing’ themselves and then splashing the water around using their hair and limbs. IT was quite interesting to see these precise movements interacting with the liquid.
The Dance of the Furies was intriguing, the movements used by the dancers were forceful and directive. That they sometimes ran across the stage, and moved aggressively really brought out the sense that these were human movements – heavy and earthy. I was particularly drawn to a repeated motion of upraised forearms (with the elbows bent) as though beating an invisible surface with the underside of your fists. There was often too a sense of undulation – the bodies rocking to one side and then retreating, much like waves. It gave a sense of being cyclical or inevitable.
They were evoking the mythological Furies, the goddesses of vengeance from Ancient Greece. They feature in the opera by Gluck of Orpheus and Eurydice, from which the music was taken that they danced to in this piece.
I am intrigued to pursue the notion of expressive and improvised dance for myself, and experiment with the movement of my body, to hopefully inform gestural mark-making in my work. It could be also interesting to understand how gesture and movement express within the convention of performance art and whether there is crossover with the world of modern dance.