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The Bridge Song project has developed a format for the presentation of key ideas and issues related to my creative practice. Broadly these are an interdisciplinary ecological philosophy covering the creative process as central achievement. This process has been supported by interrelationships and collaborations with traces of ephemeron across artform components. Bridge Song is an intentional departure from previous work as it has been developed in an urban environment, the Story Bridge precinct, with components presented in a black box theatre. This contrasts with the development of my work over the previous decade invested in remote and regional locations with site specific and satellite performance components. The performance component has become the main pathway for this project.
Fieldwork within the Story Bridge precinct progressed through intuitive responses to the site. Visual placement of textures, endemic framing devices and enclosures for particular visual or sonic moments became a focus. Initial fieldwork revealed the potential for substantial narrative. This included acknowledging the history of the site and its structure as well the potential for research through the living culture of the precinct. The potential for socially engaged artistic practice was apparent as the zone has a high-density residential population. Although the possibility of developing substantial material through anthropological or sociological field research was interesting and attractive, it has not been implemented at this stage. The timeframe, resources and focus available or chosen were not conducive to the scale of project at first visualised and considered.
Some of the contrasts and dynamics of the site were revealed while living at Kangaroo Point for six months during 2002. At this time exploratory fieldwork was conducted as an environmental laboratory. Some initial creative elements were tested and interrogated through this durational experience, while physically inhabiting a room directly under the girders of the southern ramp. A video sequence from this room is incorporated in the scene ‘Building Bridges’. Experiments and observations transformed into new objectives while other objectives were inherited residue within the continuity of previous projects. To contrast time as perceptual experience between natural space and that of the built environment was one such departure point. The Story Bridge precinct offered a comparison with the scenic vista of the natural environment. It allowed the testing of method and philosophy against the urban landscape after a decade of creating contemporary art projects in regional and remote locations.
Other considerations and challenges included the aims of creating a performance component for ‘black box’ theatre and the diversification of material content across an array of specialised formats. For example the resources available through proximity to Brisbane’s contemporary cultural infrastructure allowed investment in customised video projection design and digital video production techniques within the specifics of a public performance component. The diversification of disciplines has been a key methodology for many years, with a personal challenge of finding ways to manage project assets across disciplines and develop an intuitive interdisciplinary language as an individual expressive tool. The Bridge Song project is manifestation of this personal language as developed through the facilitation of the collaborative process, directorial role, multimedia production, design, graphics and technical theatre integration. I have been responsible for development of the overall direction, screen based content, devising performance art statements, choreographic intent, sound elements, graphic design, stage and production components. The self-reliance of this achievement is an economic strategy related to independent practice rather than an egocentric hegemony. It reflects the experience of spending many years creating structures for contemporary practice in remote Australia. Similarly it demonstrates the resourcefulness necessary to operate a sustainable micro-business within a niche market that is based within a specialised non-profit cultural sector.
The performance component marks personal progression through a language of spatial perception informed by interdisciplinary concerns. Running the performance component in a ‘black box’ space packaged the integration of different mediums and aestheticised the content delivery for auditorium reception. The priority on interrelationships and associations has resulted in ongoing support from the venue management and key tenants. For example offers of auspice and multiple co-production opportunities in 2004. Reciprocal collaborations with the musicians are also being discussed.
Particular resources available through proximity and association with urban-based infrastructure extended my artform and technical production into new forms. The development of an ecological philosophy within an urban environment has opened-up interesting areas of potentiality and future development. This journey has tested my ecological philosophy by challenging the notion that the creative process can be enough to establish receptive empathy between audience and project. However my conviction to the synesthesia of interdisciplinary practice remains intact. The Bridge Song project has illuminated new forms of ecological embodiment. For example durational projects acquiring creative meaning and assets over the telling of longer periods of time. With enough capital and resources new media offers the platforms for conveying process as product. Beyond contextualising new media as an extension of conventional performance syntax, beyond the ‘intelligent stage’, is the potential for distributed, networked, durational and telematic performance to inhabit new territory. The journey continues within the ambition of finding new contextual surfaces to express the ecological imagination.
Collaborative Layers
As an artistic collaboration Bridge Song has developed in multiple layers within a staged process. The first is development of visual, textural and movement based material on location and through studio based research. It involves the intense working relationship between dancer Rebecca Youdell and myself. Not a new collaboration, over a number of years we have developed projects stemming from a mutual interest in art and environment concerns. For Bridge Song this process has extended the creative visualisation of human to environment relationships. As exposure to the precinct started to infuse the imagination, I was able to offer choreographic concepts to Rebecca as a foundation for studio based movement investigation. As indicators these choreographic concepts provided a number of feedback cycles which in-turn infused the imagination suggesting ideas for some of the video sequences. For example the concept of ‘Newspaper Spirit’ a scene occurring at the beginning of the performance component has the performer in an inverted position, moving slowly – imperceptibly. The corresponding video sequence depicts a discarded newspaper gently moving on air currents. The dancers response to time, place, sound and image are moments that surface in the work. Equally swelling the content and duration of the performance component.
The collaborative layers are conversations using various communicative and creative tools. Associations and responses play off each other and a body of material develops around the theme. Limitations and extensions are evaluated, initially defining parameters for ongoing direction. Evaluation and auditing of resources both creative and physical punctuated the collaborative process several times over the projects development. Significant signposts for ongoing direction were: creative satisfaction within developing components, financial resources available to process and product, development of artistic collaboration and quality of interrelationships with associate entities.
With enough of the content developed to establish scene lists and transitions the original collaborative layer became fragmented into specific discipline tasks and focused artform development. For myself the tasks included producing video components that integrate into stage design and performance elements, stage and lighting design as well as graphic ephemera. The collaboration with musicians developed into significant aspects of the stage component. For example one scene I had been developing prior to meeting the musicians involved the image of performers manipulating burning rope to symbolise the metaphor of ‘burning bridges’. Erik’s composition for drums with sticks attached by ropes substituted ‘burning bridges’ with the scene ‘Bridging the Gap’. The burning ropes remain in development. When listening to the Clocked Out Duo recordings I could recognise an element of playfulness and humour. This was a welcome quality, which informed and introduced some new directions. For example the collection of percussion instruments inspired me to design a drum cage as a framing device for Vanessa to perform within while simultaneously fulfilling the need to extend stage and performance dynamics.
The Video Body and Video Monitoring
Location video shoots have been conducted throughout the Story Bridge precinct. Visual locations such as the mangrove environs directly below the southern pillar and general structural details of the Story Bridge provide particular scenic focus. Other footage captures choreographed human movement within various locations around the precinct as well an underwater scene and a blue-screen shoot focusing on the video body. Camera techniques have included: rotoscoping, time-lapse, fixed camera and moving camera. As a scenographic element the screen based works are rendered as separate files and remain as a non-linear archive of video and motion graphics stored in digital format for live mixing. During the performance three video cameras have been utilised to mix live performance details with the pre-recorded and composited sequences.
The use of live camera techniques over the course of the project has developed through interrogating the ‘voice’ of the screen-image, its frame and its authorship. Giving the camera to the performer, allowing the visceral performing body amplify its own image becomes an intensification of focus and a distribution of the projected ‘voice’ of the screen frame. The mixing of distributed points-of-view is familiar to audiences through the conventions of screen and cinema narrative devices, it is perhaps less familiar in the syntax of live theatre. In Bridge Song I have designed live screen images that are not perceptually fixed, there is a shifting point-of-view created by use of multiple cameras mixed live into the projection surface. The intention is to distribute authorship of the screen-frame and push the content meaning rather than authorship of aesthetic continuity. This is manifestation of the philosophical principal of decentring and distribution as a consequence of collaboration. For example some scenes – ‘Globe Head’, ‘Humanity’ and ‘Pins’, displace the live performance action to amplify the video body and visceral moment simultaneously.
Significant copyright material has been generated for packaging as new media object. Prototype and proof-of-concept DVD and CDROM components have been generated throughout the duration of the process. These objects distribute Bridge Song product geographically potentially finding its largest audience. The new media object component focuses on screen-based production and sound recordings, departing from ‘black box’ theatre and live art concerns.
Choreographing the Rational and Metaphysical
Specific elements within the Story Bridge precinct became a source for movement study, initiating choreographic ideas that would later be worked upon in the studio. Kinaesthetic translation of micro-body in macro-environment became maps into two and three-dimensional space. The action and impetus of framing choreographic enquiry for both camera and environment has been a substantial challenge, with rare moments of satisfaction. For example the scene ‘Edge of the Abyss’ is concerned with contrasts in scale and weight. This is translated through the delicate movement of the dancer whose shape mimics the projected image of the Bridge’s steel structure while simultaneously referencing the movement of birds that inhabit that structure. This contrast is a shift in perception where the choreography blurs the distinction between rational and metaphysical imagery. Empathy between the body and environment, between emotive and dynamic movement sequences are body maps juxtaposed against the hard and soft environmental elements. Rebecca has developed her dance vocabulary for Bridge Song through the principal of structured improvisation, which is echoed in the delivery of live music and live video manipulation.
Bridge Song embodies choreographed and improvisational dance exploring the body as a site, performance art, live music and projection/new media design to provide the artists with images that provoke and delight "out-of-awareness" perceptions of time and place. Using the unique qualities of mediated and live performance – the virtual and the visceral, to extend the potential layers of audience empathy and engagement.
Sonography
From the initial gestation of the project layers of potential metaphor inherent in the Story Bridge site suggested the theme and content to be developed. Proximity and perception of the site suggested a sonic environment and a visionary perception of the Story Bridge as a huge musical instrument. The title ‘Bridge Song’ recognises a series of sonic events as cognition and initiation of the projects process. Audio perception has been developed through three sonic maps: keynote, signals, and unique tones. Keynote sounds are the subtle fundamental tones, signals are conscious foreground sounds and unique tones are the ambient sounds of the environment (Schafer, Murray R. (1994). The Soundscape: Our Sonic Environment and Tuning of the World, Vermont: Destiny Books). There are a variety of sonic environments associated with the Story Bridge. The bridge roadway and the flow of traffic are one obvious example. Others are the sonic environ of the river, the urban and built environment with its particular qualities of sound reflection and absorption.
Live Music for Performance
The integration of musical performance is another collaborative layer although it developed through studio rehearsal only, independent of environmental fieldwork. Perhaps the aim of incorporating live music is residue from previous projects, as all Bonemap major performance works have engaged live music through composers and musicians, although this is the first time composers have not participated in the field research component. It is an integral component for seeking originality in new work and new audiences for live art. It justifies negotiation and extension of copyrighted sound and music material across components. Initially a single musician was sought to balance the solo dancer on stage during the performance component. As well as the directorial concept of one-on-one dancer and musician, seeking a single performer was a financial consideration. The choice of musician was the result of referral by associate Daryl Buckley Director Elision Contemporary Music Ensemble. A preparedness to compromise and shift conceptual parameters was already being discussed before meeting the proposed musicians Vanessa Tomlinson and Erik Griswold of Clocked Out Duo. In developing the relationship with Elision, there was little hesitation in embracing an extended line-up of performers. Initially the only compromise was financial.
After two meetings and listening to Clocked Out Duo recordings, weekly rehearsals were arranged. The initial collaborative layer of Rebecca and myself had produced a draft structure and scene list, with scenes at various stages of development. We had also incorporated one of Erik’s piano recordings into the video work ‘Flesh Kaleidoscope’, to associate their authorship with our process and collaboration. After two rehearsals the basic score for each scene had been established, leaving the scene order and transitions to be worked out over the remaining few rehearsals.
New Media Performance in a Box
With the scene structure, transitions and design in place the next challenge was fitting the performance component into a ‘black box’ theatre. Projection, live sound, live art and dance are the principal surfaces for the Bridge Song performance imagination. As production designer I worked with plans of the theatre to determine proximity and flow of each element hoping to establish integration of these surfaces. The projection design incorporates three projection systems including sophisticated dual screen rear projection with intermixed live camera feeds through a third projector. A fourth projector is used to front project during the ‘Bridging the Gap’ ropes scene. Both the musicians and dancer have feature scenes using projected live camera to amplify their visceral presence within the black box environment. Only minor adjustments were needed to accommodate the planned staging and projection design into the Judith Wright Centre’s performance space.
The bump-in progressed through the rigging of cyclorama, scrim and masking, the legs, drum cage and other properties. The projection system was rigged with video and data routed through patch-points between control room and stage. The bump-in and rehearsal schedule for the theatre season became compromised as a public holiday on the Monday meant a day was lost compressing and eliminating opportunities for some functions. For example dedicated run through for video documentation was not feasible. This impacted on the Thursday evening preview showing as not all intended final elements were integrated. These included tweaking lighting focus and some live camera feeds, which were resolved for the subsequent two show season. After all this there remained some areas left underdeveloped due to lack of skill, financial resources and dedicated theatre rehearsal time. For example I felt unsatisfied with the rhythm and timing of some cue points between video projection, sound and performance, also the costume design, choreography and dramaturgy. It has been a long-held aim to work with an outside choreologist and/or third eye, to date the financial resources and opportunity for this engagement has not been met.
Sustainable Practice Through Interrelationships
The Bridge Song project represents a significant process of exposure to Brisbane’s contemporary art audiences, bringing Bonemap’s brand of contemporary art from the regions to the city. The proposal for a season in the Judith Wright Centre’s Performance Space cultivated and implemented a partnership with the Centre. The scale, economics and orientation of the Bridge Song performance component became attractive to Chris Bowen, the Centre’s General Manager. His enthusiasm towards association with the performance presentation is in part due to Bonemap’s professional reputation and long standing independent relationships with other tenants in the building. The aim was to build alliances with Brisbane based organisations increasing prospects for Bonemap’s long-term sustainability. By creating a relationship with the centre’s management and affiliate tenants the project generated interest and expanded the presence of Bonemap’s work for Brisbane audiences. Negotiations with the Institute of Modern Art resulted in coinciding the preview of Bridge Song with an exhibition opening on the 12 June. Having attended an opening at the IMA incorporating a free showing in the performance space followed by an exhibition in the galleries, there was an impression that the model actually worked to increase attendances. Through infrastructural links with Michael Snelling Director of the Institute of Modern Art and Daryl Buckley Director of Elision Contemporary Music Ensemble ongoing alliances continue to ensure Bonemap’s integration within the Centres’ culture. This reflects a principal philosophical aim to work within relationships. A priority for this sustainable practice is the quality of relationships within an endemic culture, the artistic components being an expression and endorsement of interrelationships.
A State Government grant submission was prepared for Arts Queensland during February 2003 for the monthly under $5000.00 Small Grants Program. The application was successful, although not for the full amount requested. The Arts Queensland ‘Approved Purpose’ was ‘towards costs to present and promote regional contemporary arts group Bonemap in Brisbane through strategic partnerships, and a showcase featuring work engaged with aspects of Queensland’s distinct cultural and environmental heritage’.
The development of the performance component was punctuated by three in-progress showings during dance seasons within the Studio at Gardens Point Theatre. These showings were integral to the development process. The exposure of each of these fragments-in-progress contributed valuable opportunities to test technologies and engage in feedback discussions. Through the considered and insightful feedback of - Cheryl Stock and Keith Armstrong performative, conceptual and philosophical interrogation of the project developed and traversed unfamiliar ground. Exposure to the QUT Creative Industries faculty, has introduced me to substantial research and resources offering a community and a response to the multidisciplinary practice in which I am engaged.
Other relationships both long-standing and new have contributed significant resources to the project for which I am deeply grateful. I would like to acknowledge the contribution of Vanessa Mafe and Jondi Keane for providing studio space, accommodation and advice, also Ross Searle and Igneous for the loan of equipment during the performance presentation. Without this assistance the Bridge Song project would not be the substantial body of work it has become.
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