Contact was a work in three parts,
first performed in the "Four Men in a Boat"
exhibition, Auckland City Art Gallery 1974.
Contact was cyclic in performance. Each of its
parts came into play in three activity areas
which were then played back progressively on
three video monitors. The activities were titled
"Computer Dance", "Parangole
Capes", and "Body Articulation/ Imprint"
performed in that order. Each part took approximately
one hour to perform and with playback the spectators
had a visual juxtaposition of live and completed
events.
"Computer Dance" took
place within an open galvanised tubular steel
structure 10m x 6.2m x 3.1m. Spotlights were
placed along the opposing sides at ground level.
The two sides flashed on and off alternately
at on second intervals with an audible click
which gave a strong audio pulse/ metronome/
heartbeat to the event. Suspended in the enclosed
space were long lengths of fine nylon which
in combination with the flashing lights had
a disorientating effect on the performers. The
performers carried hand held electronic infra
red beams. The males carried the 'emiter' and
the females the receiver. A small speaker relayed
from the equipment was taped to the chest of
each person. In addition the performers wore
masks cut from tyre inner tubes. The performers
operated in pairs and the action was one of
game/playing with the beams. When held in perfect
alignment 'contact was signalled by a loud high
pitched audio tone from the speakers.
"Computer Dance" signalled
a dysfunction society where people were programmed
to perform prescribed functions and where real
communication between others was fraught with
difficulties: their breathing (overlaid by masks)
and perception pervaded by the omnipresence
of the motor vehicle.
The "Parangole Capes"
installation comprised of a 2.75m square/2m
high open tubular steel frame overlaying a white
sheet and bundles of clothing made from a variety
of materials. The action was carried by two
male and two female performers. The Capes were
successive layers of Fabric shaped to inhibit
body and limb movements with the underlayers
secured round the body by long tapes. The outer
layers were of coloured hessian ( a different
colour for each performer) and then finally
they were helped into and totally enclosed in
a large sack-like bag of heavy hessian.
At some distance from each side
of the cube the performers were lowered to the
ground. Initially they explored avenues of movement,
arching back and legs, inching the body and
attempting to roll over. As by common impulse
they then commenced to work their way to the
centre of the cube. Throughout this action the
performers are committed to articulating sounds
which express the effort entailed in their ,overtness,
a mouth clicking, hissing, sissing range of
noise. They lay still for long periods. Taking
close on an hour they finally finished, still
prostrate, In the centre of the space. They
moved to each other touching and exploring;
their only freedom being head movements. This
gave them the ability to use their teeth in
the task of freeing each other. When all were
free they picked up the shed capes and draped
them over the cube frame until all the open
spaces were blocked in and the cube became a
solid with the performers inside. Over this
period the sissing sounds have gradually been
replaced by humming and at conclusion the cube
emanated a low buoyant sound.
As an extension to the "Computer
Dance" "Parangole Capes" initially
preserves the privacy of the individual and
the isolation of individual endeavour to make
way in the world. At this point there is considerable
empathy between performer and audience. The
bound forms are straight - jacketed in pre-destined
paths - their situation is felt to be life threatening.
Relief comes with touching, sensory exploration,
and socialising within a shared environment.
"Body Articulation/Imprint".
The floor and walls of a large section of the
art gallery were blocked off to form an 'arena'
for action. Six performers were dispersed around
the perimeter of the space; each had a plastic
bucket of gel colour, alternately red, blue,
and yellow.
The action commenced with the
players smearing a quantity of colour on the
joint areas of the body. As they moved a visual
record was made of the articulation. After this
initial exploration the colour was extended
to cover the whole of the body. The player then
proceeded to make an imprint on the polythene
floor by squirming, rolling, and making sweeping
arm and leg movements. At this stage there are
red, yellow, and blue movements around the perimeter
of the space. Next players moved closer to the
centre and formed partnerships. They explored
dual movements and bought about colour changes
through body contact, yellow and blue to green,
red and blue to purple. Following this all six
met in the centre and all distinguishing colour
was lost in the body mix. The action terminated
by the players wiping colour off each other's
bodies.
The culminating action of Contact
"Body articulation/Imprint" parodies
those special moments of release from inhibitions
of privacy, societal and cultural restraints.
At this stage of the work it became a joyful
happening with much shouting and laughter accompanied
by a restive audience all too ready to join
in.
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