Adugna and Symphony
Whilst sharing certain stylistic approaches and techniques with the video dance work, the documentaries ‘Adugna’ and ‘Symphony’ differ significantly from the video dance work in terms of intention. They were made as awareness and fund-raising films for Dance United, a UK-based dance development company, headed up by the visionary teacher and choreographer Royston Maldoom.
The challenge in making these films was to capture the essence of the incredible work being done by Royston, his colleagues and the people they work with. We stove to create two films that contain the factual information that needs to be imparted and whilst at the same time communicate the power and potential of dance as a means of expression and as a tool for social change.
Another way in which the documentaries differ from the other works is that the choreography existed in its own right and was not created specially for the camera.
However, the approach we took to filming the choreography was to re-structure it entirely for the screen. Again, the intention was to capture the essence of the choreographed work and the impact of the dancers’ performance. As director and cameraperson, I was given the full freedom I needed to work with Simon, the editor, to find ways to shape the work as video dance rather than recreating what happened ‘live.’
Future Vision
The challenge that faces those involved in making video dance is to invent a new language. What we are making is not a dance, nor is it a video of a dance, or even for that matter, simply a video.
My ambition is to find and communicate ideas that can only be expressed through this hybrid medium and using a style and syntax that is unique to video dance. It can be challenging for everyone – artists and the viewers.
Particularly a longer work like ‘The Truth’ demands us to allow ourselves to experience the emotional flow of the work, to look carefully and actively and to suspend our judgement. Because it is screen-based work – and therefore by default associated with television – there is the danger that the expectation is that everything should be obvious straight away and on one viewing and for there to be a sense of
narrative closure.
What I am more interested in is to take the viewer on an intense emotional journey, one that cannot necessarily be rationalised or explained away in words. However, nothing in the work is random or un-considered. In all the video dance that I have directed, my collaborators and I have tried to make work that, on one level, demands analysis and thought, and on the other, can be enjoyed on an impressionistic or experiential level. I hope you enjoy it!
Katrina McPherson, Newtonmore, Scotland, September 2003
Copyright: K. McPherson 2003
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