Species of Spaces is a catalogue of many choreographic situations; not one single fixed piece but rather a collection of countless possible variations. Selecting and assembling the catalogue’s different items together allows to create a bespoke dance performance. As a response to a fully malleable modern environment, Species of Spaces could be considered a customisable dance work.
“Beautiful, baffling and bold.”ggggggggggggggggggggggggggggg
Articulated around four main themes (container & contained, from abstract to narrative, framing the void, physical language), this choreographic catalogue currently comprises nine situations: Edges of Sand | Enclosed Ash | Euclidean Drop | Ivory Lattice | Blank Prussian Blue| Mikadopark | Racing Green Station | Watch this Sinopia | Wide Open Coral.
“Slick and so refined. Mesmerizing and organic.”
Species of Spaces is a title borrowed from French writer Georges Perec. Initiated by Lucille Teppa and developped by Eleven Farrer House, the project was first researched in 2014 at the Ballet National de Marseille (France) thanks to the Lisa Ullmann Travelling Scholarship Fund. Supported by Arts Council England, the project has been further developed over the recent years via residencies at Dance Research Studio (London), Dance Limerick (Ireland) and Penpynfarch (Wales). Performances have taken place at St John’s Church (Limerick), as part of Agony Art (London), at The Point (Eastleigh) as part of Café choreographique, at The Cut (Halesworth) as part of Moving Arts East and at Chisenhale Dance Space (London).
“So female. And beautiful. So quietly, precisely, wafting and wefting. Filing through space. Drawing lines in space. A brocade or a tapestry. One almost breathes the breath, drops with the fall into movement as the dancers weave their pathways, count their steps and a pattern evolves. Cut. Breaking the thread. Pick up the weave. Another weave, another fabric emerges. Cut. Distinct test pieces, each skillfully designed. We watch them materialising before us, a catalogue of myriad possible variations. It ends with a single thread drawn on a journey through nostalgia, in stillness, a margin woven in memory, the edges of now.”
Review and sketch by Carolyn Roy