Mette Edvardsen in Music for Lectures at Fest en Fest

Mette Edvardsen, Music For Lectures/every word was once an animal, Fest en Fest, February 9

It’s a welcome opportunity to see Mette Edvardsen again at Fest en Fest after last year’s No Title. She brings not a solo work but a collaboration with Jonathan Burrows, Matteo Fargion and Francesca Fargion: Music for Lectures/every word was once an animal. The setting is not a stage but one end of the Fuel Tank bar, against a door with a no entry sign on the outside. It’s a wet, stormy day and some people enter through it anyway to avoid an extra walk around the building. Seats are improvised, cushions are laid on the floor and Edvardsen is seated facing them cross-legged on a mat with microphone in hand. She is backed (or sided) by what is called a rock band consisting of Burrows on drums, Fargion senior on bass and Fargion junior on keyboard, but the musical style is more affected minimalist than rock. 

Once she begins her text in her deadpan Norwegian lilt, it is clear that Edvardsen’s discursive lecture, both in its rigorous construction and in the patterns of her thinking, is in fact a choreography of words and ideas that move with the fluidity of an enchaînement. That she remains seated is inconsequential; we can see the movement behind our eyes. She begins with a characteristic digression by saying she had once thought her title, ‘every word was once an animal’, was a quote from Ralph Waldo Emerson, but her memorisation of the misquote — its repetition in her memory — had value since it led her to read all Emerson’s works and what others had written about him. The way Edvardsen’s words contain meanings that spread out into other meanings like an endless stream of associations is perhaps something she has learned from Emerson. In fact, it wasn’t a digression at all, but a repetition of something that Edvardsen had prepared, rehearsed and was now performing.  

The meaning of the English words ‘repetition’ and ‘rehearsal’ is joined in the French ‘répétition’, and Edvardsen takes us through aspects of the word’s signification, teasing its many cultural connections and spatio-temporal ramifications, from the micro-cosmos of performances, rituals, and daily routines to quantum explanations of space-time. She integrates a story about the filming of the burning house in Tarkovsky’s Offret (The Sacrifice), examples of the Spanish artist Dora Garcia, the Beatles’ song Number 9 and considers the proposal of an alternative universal rhythm with a Big Bang followed by a Big Crunch followed again by a Big Bang. 

Repetition acts both as an affirmation and a procrastination, a looking back but also a distillation of possibilities in the future. Quoting the Danish philosopher Søren Kirkegaard, Edvardsen reminds us that repetition and recollection are the same movements but in opposite directions, because in recollecting what has been, one also repeats it. Such an economy suspends the repetition of the past in the future, giving rise to the entropy of what Edvardsen refers to as a ‘non-concept’. Through her diverse references Edvardsen is not merely illustrating repetitive patterns but turning them into a choreographic lecture as a way of knowing.

Throughout, Edvardsen never loses the thread of associations; she does, however, find a red thread stuck on her sock but this, she reminds us, is a repetitive digression at the core of any performance and of the performing arts: the rehearsal of a pattern that is never the same and yet not so different as to be unrecognizable. 

In a previous project called Time has fallen asleep in the afternoon sunshine, Edvardsen associated the memorisation of a book with the way a dancer learns choreography in rehearsal, and a live reading with performance. A copy of one of the books in the project was Franz Kafka’s Metamorphosis, but the memoriser’s copy was beginning to fall apart from wear (it can happen to a dancer, too). When she replaced it with a new one she was horrified to find the opening line was a different translation. By repeating the same line in a number of English translations, Edvardsen demonstrates how each iteration of a gesture, a word, a phrase or a verse can create a different image or association. As Emerson actually wrote, ‘Every word was once a poem.’ 

Fest en Fest offers its audiences examples of what it calls ‘expanded choreography’. The symbiotic link between language and dance that Edvardsen develops through the medium of the voice — with or without an accompanying band — is a perfect example. 

Ian Abbott on H2Dance’s Fest en Fest at Laban

Fest en Fest 2020 by H2Dance, Laban, 8 and 9 February

Fest en Fest is an international festival of UK/Nordic artists looking at notions of expanded choreography initiated and curated by H2Dance. Fest en Fest ‘makes space for artists and audiences to come together and present live works and ideas, to discuss, provoke, influence and be a force for change.’ This is the second edition and took place over a week in Colchester, Cambridge and London. I saw a number of works and attended a discursive lunch and round table with Janine Harrington and Grace Nicol in Deptford. Due to the storms that weekend, the performance of Phantasmagoric by Helgebostad/Berstad/Brun was unfortunately cancelled. 

Cry Me a River – the Quest for the Source by Karen Røise Kielland/Katja Dreyer is a buoyant choreographic postcard offering an autofictional account of a joint expedition to the source of the River Styx via the side quests of multiple Greek mythological hero(ine)s. Kielland and Dreyer are a pair of affable performers busying themselves with their stage-based tasks related to casting effigies of multiple body parts in plaster whilst retelling their real life stories of meeting Odysseus, Cerberus and Echo on a 1500-mile adventure. 

With their direct address and small audience interaction (one member got a cast of their hand) it’s a work that raises a few chuckles at the word play and storytelling as Kielland and Dreyer relay their encounters; it feels that there’s enough presented for us to believe it is real…or real enough. It dabbles with the venn diagram of truth and non-truth whilst keeping their onstage labour legitimate. Sat alongside all of this is a long set-up for what is a delicious final set of images (no spoilers) and feminist commentary on the patriarchal histories, stories and collections that are so heralded in Western heritage institutions. The act of casting bodies and the residue of patriarchal statues that are littered throughout history tell a particular story of a particular body type from a particular stratum of society; Kielland and Dreyer’s gentle lampooning is a fine start to my Fest en Fest.

If audiences were trying to find traditional examples of ‘dancing’ and ‘choreography’ in Cry Me a River – the Quest for the Source they would struggle, but Fest en Fest is clear in what it is and what it will present. ‘Expanded Choreography’ as a notion could be an alternative moniker for performance, live art or theatre. An ‘Expanded Theatre’ festival like Fest en Fest includes dance, music, and visual art in a widening boundary that encompasses other things. Fest en Fest is a festival. A festival of work from the UK and Nordic countries. It doesn’t need to indulge in a dance-will-eat-itself debate – let the work speak and get your ears ready for what it has to say.

Music For Lectures is a series of works by Jonathan Burrows and Matteo Fargion where they invite a speaker (this time Mette Edvardsen) to give a talk on a subject of their choice which is backed by the Burrows/Fargion ‘rock band.’ At 35 minutes Music For Lectures/every word was once an animal saw Edvardsen sat cross legged with microphone and script in hand, Burrows on drums, Fargion (Matteo) on bass guitar and egg shakers and Fargion (Francesca) conducting from a keyboard. 

Edvardsen’s text is a dry and stretched desert traipse through the pop science section of Waterstones picking up some sugary and shallow philosophy on repetition on the way; the rock band play simple chords and beats whilst Edvardsen speaks. For 35 minutes. With the audience sat at the end of Gaff@FuelTank bar, 40 people were subjected to the theory of the eternal return, to Flashdance and to Kierkegaard. It was thin, self-satisfying and could have been presented as a radio programme/podcast such were the levels of performativity or audience engagement; if I wanted a performed bibliography in the shadow of John Cage I would have gone elsewhere.

I do not subscribe to the cult of Jonathan Burrows. Having seen four of his works I cannot understand why a performance of quaint Englishness — a peacocking simplicity masked by pseudo intellectual academia — appears to be so well received by the cult which surrounds his work. His performance persona is like an English Poundland version of Matthew Goulish and Tim Etchell’s lovechild but has inherited neither their performance charisma nor their intellectual heft. 

With Edvardsen the second, White, female frontperson (previously Katye Coe) in Burrows and Fargion’s collection, I don’t understand why or how her presentation is of interest in the live realm. Expanded choreography this is not. Expanded intellectuality this is definitely not. Burrows and Fargion expanded ego, 100%.

What H2Dance have done for this second edition of the festival is to extend it outside London, bringing a number of UK premieres to Cambridge and Colchester as well as attracting a set of artists and students from Laban for whom some of the work resonates/challenges assumed thinking. Fest en Fest has — in just two years — found a tribe of audiences, artists and programmers to attend this micro-festival that is artist run/curated and led. It is rich, full and divergent and although I had a strong response to Music For Lectures, I appreciate a work that makes me feel such a strong set of emotions. 

Leaving Laban I went back to thinking about Cry Me a River – the Quest for the Source and how Kielland and Dreyer could expand their own repertoire and offer their take on other histories choreographically, from the Greeks to the Romans to the plague or the sealing of the Magna Carter in a series of alternative edutainment shorts looking at dance/history through a feminist autofictional lens.

Mette Edvardsen, No Title, Fest en Fest, Laurie Grove Studios

Mette Edvardsen, No Title, Fest en Fest, Laurie Grove Studios, June 24

Mette Edvardsen’s No Title (photo: Lilia Mestre)

In this first edition of Fest en Fest, curators Hanna Gillgren and Heidi Rustgaard establish a benchmark for their festival in works with a rigorous choreographic approach to language. Karen Røise Kielland used it in A Slow Escape to compress a vast geographical journey on to a small stage, while Mette Edvardsen uses its negation in No Title to extrapolate the space of a small stage into the vast landscape of imagination.

At her last appearance in London, at the 2012 Dance Umbrella, Edvardsen presented a project called Time has fallen asleep in the afternoon sunshine, where she gathered a group of like-minded dancers to each commit a book to memory in the same way that dancers memorize a sequence of steps. The performance was in reading the story or poetry from memory to an audience of one (at a time) in a public library. No Title’s approach to language requires a similar closeness and concentration between performer and audience but Edvardsen’s craft has evolved around her own authorship and an expanded sense of theatrical space.

No Title (2014) is part of a trilogy of works with Black (2011) and We to be (2015) that explore the notions of appearance and disappearance through language. As Edvardsen observes in an interview with Eva Decaesstecker, ‘When I was making Black I thought it was the end of something, that I had closed a circle. I painted all my objects (from previous pieces) black in order to make them disappear, and with this removal of objects came language.’ In Black Edvardsen used language to make the objects reappear, whereas in No Title she uses negation in language to suggest disappearance. ‘The beginning is gone. The space is empty,’ she starts. When a word is invoked its sound signifies a reality with which it is associated; both the sound of the word (the signifier) and its reality (the signified) pass through our brain to corroborate the signification. But when the negation of a word is invoked, the signification is short-circuited; it becomes a space. As Edvardsen continues her series of verbal negations she creates a space on stage that represents the full potential of what has nominally disappeared. At the same time she constantly reminds us of the irreducible presence of the speaker — ‘Me not gone’, as she says — amongst what has disappeared or fallen away. The role of the choreographer in such an approach to choreographic writing that makes the signification of words a key element is to divest the creative language of any extraneous meaning. With a minimum of means Edvardsen eloquently demonstrates this to the point that No Title reveals the stage as a vibrant space from which all associative clutter has been removed. It is a lesson for any choreographer who takes space for granted as a container to fill with movement.

Edvardsen’s voice does not simply pronounce words but expresses its own muscular quality — ‘le grain de la voix’ in Roland Barthes’ terms — and she gives it even more power by sticking paper eyes over her closed eyelids. Blindness is the negation of sight, so the phenomenon of performing without seeing underlines the idea of extracting reality from the influence of words. Using her body to see, Edvardsen senses the physical limits of the space she is making either through touch or the sensation of proximity. At one point she traces in chalk a line on the ground from the back of the stage to the front, a feathery, uncertain line from source to completion. Putting aside the chalk she works her way back upstage making the motions of erasing the line with her hand but in her blindness misses it. ‘Line is gone’ she says, setting up a slippage between verbal negation and the physical attempt to achieve it.

Dance is often referred to as ephemeral but that doesn’t alter its ability to lodge itself in the emotional core of our being; while Edvardsen erases the appearances of her craft she never discards the core reality she signifies in her performance. As a writer of choreography she has created a work through its disappearance — even the title has gone — and at the end, as author, she also disappears. The stage we are left to ponder is far from empty; it resounds with the echoes of Edvardsen’s words and gestures and the chalk line is still there with the two paper eyes stuck to the proscenium. Even after she has left she remains pointing to her own withdrawal.

Karen Røise Kielland, A Slow Escape, Laurie Grove Studios

Karen Røise Kielland, A Slow Escape, Laurie Grove Studios, June 23

Karen Røise Kielland in A Slow Escape (photo: Rino Pucci)

Karen Røise Kielland’s A Slow Escape is one of seven works presented as part of a new dance festival in London, Fest en Fest, organized and curated by Hanna Gillgren and Heidi Rustgaard of H2Dance. The festival aims to question ‘choreographic practice, the context for art production, current programming and aesthetic power structures’ through a series of talks, discussions and performances. In this first outing of the festival Gillgren, who is Swedish, and Rustgaard, who is Norwegian, have chosen works that arise from a predominantly Nordic geography and sensibility, none more so than A Slow Escape. It is based on two walks from Norway to Italy, one by Catherine H. Kølle in 1841 and the second by Kielland in 2011 following as closely as possible in Kølle’s footsteps. The evidence of Kølle’s trip — and the primary source for Kielland’s own — is contained in her diary of meticulous details like the colour of roofs, the topography or the number of paintings in a museum. The evidence for Kielland’s walk is contained in her edited field recordings, her spoken travelogue and an exhibition of mnemonic artifacts on the stage in front of her. Kølle also painted a series of watercolours of her travels in a shorthand style that predates painting by numbers, a visual corroboration Kielland references by inviting artist Tom Mason to join her on stage with an overhead projector and a pile of acetates on which he illustrates her travels in the manner of a graphic novel.

Kielland remains quite still throughout, poised as if chatting to the camera by the roadside with one foot resting on a stile, wearing a hazard jacket, holding a revolver in one hand and an umbrella in the other. We travel her entire journey in our imagination, fed by her pace of delivery, her walking guide to the history of Europe, her ongoing investigation into Kølle’s diaries — a historical riddle in itself — and by Mason’s imaginative fluency of line. It’s a brilliant collaborative adventure with dramaturgy by Marit Grimstad Egggen, advice from Christina Hauge, lighting by Ingeborg Staxrud Olerud, set and costume advice from Jennie Bringsaker and sound editing assistance from Erlend Hogstad.

A Slow Escape is also a commentary on how Europe has evolved since Kølle set out on her journey. While headlines in the daily Morgenbladet paper on the morning of Kølle’s departure of April 4, 1841 cited an economic crisis in Greece, and again on June 19, 2011 when Kielland left on her trip, the social and geographic aspects had changedforever; routes that Kølle described were no longer available to Kielland because of the expansion of transport infrastructure and some villages Kølle had passed through had since been drowned by hydroelectric projects. She also encounters sites that Kølle had never even imagined like the abandoned airport of Templehof near Berlin. Kølle’s dispassionate numerical annotations are ever present next to and contrasted with Kielland’s own commentary. Her diary was written in German Gothic script that no researcher, it seems, had ever bothered to read. Kølle was known as Norway’s first hiker and her walk to and from Venice was considered a matter of irrefutable fact, even according to her biographer. Over the course of her journey, however, Kielland’s reading of the script becomes more fluent and as she matches her own experience with Kølle’s she realizes that the diary includes passages about riding in coaches for some of the way. Her entire adventure, it seems, is based on a false premise. Her sense of deception on her arrival in Venice is aggravated by confounding the end of her project with the end of Europe as she had imagined it.

Kielland conjures up a walking map of Europe at a time when people barely walk any distance at all; she says at one point in her travelogue that she hasn’t met a soul all day and imagines Kølle having more people from whom to ask the way: ‘there is company in a voice,’ she observes. The act of talking mediates between mind and body and although she remains static for most of the performance — a remarkable endurance test in itself — Kielland’s words succeed in connecting us to the journey of the walking body she describes. A Slow Escape is thus the record of an ambulatory dance on the geographical scale of Europe that Kielland has compressed in all its richness to a small stage in Deptford at a time when the British government is in the very process of redrawing the map yet again.