HIGHS & LOWS IS AN EVENING OF PERFORMANCES IN OT301, AMSTERDAM. THE NIGHT, PRODUCED AND CURATED BY 4BID, FOCUSES ON MOVEMENT RESEARCH IN CONTEMPORARY DANCE AND LIVE ART. THE IDEA BEHIND H&L IS TO GIVE CONTEMPORARY DANCE, PERFORMANCE AND LIVE ART A PLATFORM TO SHOW WORK THAT IS EXPERIMENTAL, DARING, UNFUNDED, COLLABORATIVE, RESULT OF RESEARCH OR WORK IN PROGRESS.
“Man-Small World, World-Giant Man” (Avot d’Rabbi Natan, 31)
A Solo of one body and endless worlds.
A chaotic and yet orderly lecture-performance, presenting reflections between microcosms and macrocosms, between general and personal.
Choreography and performance: Tammy Izhaki
ϕ is a work dedicated to the Universe. In the studio when working on the spacial exploration, I found the anatomy structure of human bodies is constructed by accumulated circles, the energretic field of human bodies is called sphere, and aura constructs the spiritual field of human bodies. Another time working on spacial task setting, I found my imagination flows with my sensation and perception. I visualized the embodiment space shifting in that experiment, so the accumulated square space shifting becomes a drawing geometry, and the whole continuous squares become another circle. Without gravity, in the floating air space, the whole space shifting is extended from 2D square to 3D cube, so does the circle/sphere.
With circle and square, with sphere and cube, what’s their relationship? Square volume equals cube volume in terms of ϕ, which is 1:1.618, creating the golden ratio (Fibonacci spiral), which is one of the most harmonious and aesthetic universal law, and could be applied to many things in the Universe.
When the concept extends from 3D to 5D, is that the access to pararrel Universe? Are human beings infinitely powerful to infulence everything connected via energetic field based on quantum physics theory?
‘Choreography of the mouth‘ is a performative series exploring the mouth as an organ of radical expression. The mouth can bite, chew, spit, eat, burp, choke, cough, gag, spit, vomit, whistle, cry, scream, shout, gasp, growl, grunt, sigh, yawn, kiss, lick, suck, laugh, lisp, mumble, mute, pause, stutter, murmur, whisper. But the mouth seems to move as if by its own infraction. A performative chamber fundamental to identity and social conditioning. A pivot point between the inner and the outer, a place in which boundaries and taboos are held in balance.
“jidhe” means trunk in arabic; which relates notably to my sitting position on the stage during the performance. This sitting position tends to depict a mix of exposure, defenseless body; and strength taking root in the ground, leading to a more direct and simpler form of expressiveness centered in the arms and the face. Maybe more importantly, sitting is an unconscious way to suppress all the directional functions involved with the legs (especially the legs of the dancers) in
order to create new approaches of what directionality can actually be.
Another aspect of the work is the choice of the “music”. I’ve decided to perform on noise and then silence to leave the doors as open as possible first to be able to shape them more spontaneously while improvising; but most of all to let the spectator able to subjectively interpret these noise and silence. I like the idea of suggesting filters of the sound through my movements, or an inner music heard through the eyes of the spectator.
I finally want to emphasize the strong relationship between noise and silence. Abruptly going from noise to silence is for me a way to create a surprise attack for the viewer, as well as a possibility to re-interpret the same kind of movements with an additional intimacy created by silence.