Table of Contents 

30. Jan - 9. Feb 14 / ended Tramway


Tues-Fri 12-5pm; Sat-Sun 12-6pm

Performance | Performance | Scotland

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Photo by Pari Naderi

Photo by Pari Naderi

A Live Installation: Memory and Presence

Part of British Dance Edition 2014

“You always have to push yourself beyond the image others have of you and your work otherwise you are always in the past.” Siobhan Davies, 1982

Table of Contents is a live performance and installation co-created by Siobhan Davies, Andrea Buckley, Helka Kaski, Rachel Krische, Charlie Morrissey and Matthias Sperling, each using their own history as choreographers and performers to question how dance is archived and how different art forms build on their own history.

The work sets up a shared space between audience and dancer, inviting the audience into a live dialogue to experience and consider how the past reveals itself in our present actions.

Siobhan Davies Dance pushes the boundaries of what is thought of as dance, renewing its thinking and working in non-traditional dance venues to promote new exchanges.

Using Siobhan Davies’s own history as a choreographer and dancer as a starting point, this new project reflects on the concept of archiving dance. Working closely with five collaborating dance artists Andrea Buckley, Helka Kaski, Rachel Krische, Charlie Morrissey and Matthias Sperling the artists consider their own embodied history and memory. When seen in a gallery context the work questions how different art forms build on their own history. How does a potentially ephemeral art form create a lasting presence and how is embodied movement passed on, captured or remembered? In a work that consciously breaks barriers between audience and performer Davies and her collaborators engage audiences in a kind of live encounter or exchange, a learning process between both parties. The audience intermingle with dancers and the work intentionally shows process, unravelling dance and choreographic thinking in the proximity that a gallery space allows. Siobhan Davies rose to prominence in the 1980s and increasingly works outside traditional dance venues, promoting radical new exchanges between different art forms. This new work plays with the relationship between dance and other art forms but in the end celebrates dance as a very particular way of apprehending the world.

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