Past inside the Present curated by Feral Arts

Rosemary Butcher callout

Due to illness, Rosemary Butcher will no longer be leading the Facing the Present research week of 26 – 31 October, and will not be presenting work at the showcase on Saturday 31 November. The showcase will still take place and Glasgow-based producing duo Feral to curate an evening of works in progress, and the research week will now be used as rehearsal time for their selected artists. Feral (Jill Smith & Kathryn Boyle) are former programmers from The Arches and we are delighted to be working with them to present new, fresh work.

For the first time the showcase will present artists working cross discipline in dance, movement and live art to explore the spaces between artforms; focusing on new work that is experimental in dynamic. This scratch style platform is designed to allow artists an opportunity to try out a new idea in front of an audience and gain feedback. October’s event will feature snippets of new works by Laura Bradshaw & Scrimshaw Collective, Rosalind Masson, Melanie Forbes Broomes & Tom Marshallsay and Martyn Garside.

Laura Bradshaw/Scrimshaw Collective: Machinery’s Handbook (or an involute is not the same as a spiral)
Scrimshaw Collective present the beginnings of a new work which uses the ninth edition of Machinery’s Handbook published in 1935 in America and owned by James Cottingham as a score for three bodies and three voices.
We do not know who James Cottingham is. The work will explore geometric shape, force, velocity and direction only as instructed by the book.
In 1935 the most popular song in America was 'Can the Circle be Unbroken' by The Carter Family.
'… because we desire to perfect the handbook as far as possible, all criticisms and suggestions either about revisions or the inclusion of new matter are welcome.' (Machinery’s Handbook Preface)

Rosalind Masson: Mus Ro Faclan Ann/Before Words
This material is the beginning of work towards a piece titled Mus Ro Faclan Ann /Before Words. I’ve studied the way in which birds use their wings and bodies in flight and landing, swimming and walking, transposing this movement onto my own body. The movement isn’t always rigidly dictated by this study, sometimes studies of water and air also influence my movement patterns. I’m questioning, or trying to ask physically what makes us different from animals and how did a particular place effect me as a performer and choreographer?

Melanie Forbes-Broomes and Tom Marshallsay
Melanie’s work is influenced and inspired by social politics and theatrical gestures striving to create a symbiosis between movement and concept. Tom Marshall say is an artist and music producer who works across all mediums, with focus on 'post-production' processes and rhythm. Together both artists are exploring a dialogue between man-machine relationships and rhythm (centering around research into South American and African Diaspora music’s and their relationship with dance and community).

Martyn Garside: An exercise in capturing the present.
What will you remember, what will you forget?

How you may imagine the before and after in order to perceive your experience of the event that was, that is and could be.

Mark Bleakly: Marina City Part 2 

Marina City Part 2 is the second performance that explores the notions around disembodiment on a physical and psychological level. The first Or From Werner to Dan and Back focuses on the affects of photographing on our  environments, Marina City Part 2 focuses on the change in perceptive states around ‘becoming lost’ (mentally) and regaining of consciousness after. Combining  written, recorded and performed material to present a series of images where the experience of losing oneself is either embedded or an outcome of these actions. Referencing Rave Culture and Gospel performances this piece finds its politics through the act of bouncing.

Sita Pieraccini: Make a HOO

Make A HOO takes the form of modern folklore with a symphonic twist. It weaves together a day in the life of one central character and her struggle in finding her echo in a world of repetition. Inspired by an artist residency in Sri Lanka and an audio collaboration with sound artist Mark Vernon.

Facing the Present - PERFORMANCE (£5)
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Creative Scotland
Supported by Edinburgh
Supported by the City of Edinburgh Council
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