WRITING

"Sue Healey presented her performed conversation Variant as part of ‘Liveworks’ festival presented by Performance Space at Carriageworks.  Promoted as a “fast and furious festival of new ideas” the four-day event consisted of a barrage of challenging performances, installations, screenings and many other formats, filling the entire venue.  Innovation and interpretation was vivid in the 2010 program, Healey’s ‘work in development’ was a highlight, being presented as part of her Curiosities series.


Variant clearly demonstrates Healey’s unique ability to use dance and art as research. An evolving collaboration between herself, the six dancers and the music director Pat Wilson, the work showed the power of the human body in channeling thoughtful concepts whilst also being aesthetically creative. Challenging audience perceptions, this artwork demanded laughter and contemplation. Variant questions norm and difference, and explores diversity within the human form.  

Perhaps the most obvious visual variance was between the versatile and diminutive Kiruna Stamell, who danced alongside the distinctly tall James Berlyn.  His height was exaggerated at times by a pair of platform heels that even the most experienced of catwalk models might have found a challenge!  They spoke into microphones about the very real social implications of their heights and about being treated like ‘freaks’ – but here, in front of the audience, stood two beautiful performers. Joking about bone stretching and cutting inches off one’s feet, they equated these modifications to plastic surgeries we encounter in our everyday worlds. Highlighting the severity of difference hits the audience directly where it hurts. After all, we are all victims of judgment at both ends.  

Even so, the dancing was far more powerful than the words.  A playful pas de deux was featured where waltzing, lifting, spinning and swinging highlighted Kiruna and James’ variance yet united their commonality. The relationship and compatibility between them spoke for itself, as did the stilts Kiruna danced atop for a cleverly amusing dance sequence.  It was easy to get lost in the ease and joy of their movements.  Perhaps this was a victory in itself, for the essence of the human body was found among the differences.

With this stark variance established, the commitment to experimentation called for further tinkering. The spectrum of height difference between Kiruna and James was filled and the word ‘relative’ became suddenly obvious.  Observation or judgment is only relative to what it is compared to: Kiruna no longer appeared as short, nor James as tall.  What remained were people, bodies, dancers and artists. Ultimately, individuals.

Narelle Benjamin and Benjamin Hancock both sensuously swirled and cleverly isolated their bodies around the stage. Their immense strength and flexibility was on display with her in track pants and him with a nearly bare body. The pair performed intricate discoveries of the body, with spines rolling and bending, muscles isolating and their bodies intertwining. They led each other seamlessly in call and response sequences and all their skill and virtuosity evoked a sense of sadness. They were isolated by their abilities, separated from an imagined ‘normality’ that is incapable of such feats.

In a build up of solos and partner work, the audience experienced transitions through variants.  With disjointed sequences, humorous moments and clever choreographic isolations, each dancer became obscure in their selves but familiar in their struggle.  

In a bittersweet conclusion, beautiful moments of unison incorporated the remaining two dancers, Rachelle Hickson and Nalina Wait, with all the dancers effecting and affecting each other. They were united in all their differences and perhaps oddities, testing the audience with a mixture of emotions represented by exaggerated gestures of the face.  Confronting and curious, the piece led us into a whirlwind of our own pasts and presents.

Are we able to laugh at and judge others?  After all, they judge us. That seems to be the reality of society and humanity, and what a sad cycle that is. Thankfully the performers were liberated and free at the end, evoking joy and hope. It will be interesting to see where this work progresses and how this experimentation and research evolves."

Variant by the Sue Healey Company @ Carriageworks

Sara Czarnota M/C Reviews November 21 2010