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Zero Degrees - Design Features
Transcript of Zero Degrees - Design Features
THE DESIGN FEATURES
Two, life sized, white coloured, articulated dummies / sculptures - full body casts of the dancers' actual bodies.
Khan's dummy has more joints and has greater potential in terms of movement
SLC's dummy can stand upright independently
Lighting and Set
Three, pale grey, minimalistic blank walls that are used to frame the movement
neutral lighting and limited colour washes
Although the lighting is subtle it is used to effect to aid the narrative and to create mood and atmosphere - for example the corridors of light
Similar in style to each other but different in colour, Cherakoui wears shade of blue and grey whilst Khan wears neutral tones of khaki and brown.
They wear baggy legged, wide trousers in heavy - weight jersey fabric - these are wrapped around the body (skirt like) and secured at the hip. they hand full length to the ankle (Cherkaoui's are secured around the ankle)
Khan also wears a short sleeve t-shirt and has bare feet.
Cherkaoui's costume includes a long-sleeve grey T-shirt and black jazz trainers
Khan and Cherakoui - Costume
Closer view of trousers
Gormley has created silicone sculptures molded from the bodies of Khan and Larbi, and they are so eerily lifelike that you expect them to start dancing of their own volition. they haunt the stage like alter egos, punchbags for the dancers' pain, impassive reflections of their vulnerability
Craine,D. Dance: Zero Degrees, Times (section2) 14 July, 2005, p.22.
KHAN AND SAWHNEY HAVE WORKED TOGETHER MANY TIMES BEFORE - see Khan's Choreochronicle.
THIS FACILITATED THE CREATION OF THE ACCOMPANIMENT IN A COLLABORATIVE PROCESS WITH KHAN AND CHERKAOUI.
Instruments include cello, violin, percussion; and vocals performed by Faheem Mazar, performing North Indian singing which includes improvised notes, Mazar has also worked with Khan before, hanging upside down to sing in Ma.
Cherkaoui also performs an Israeli folk song. Larbi has studied Hebrew a little and had learned the song in order to learn the language. He found it "ironic in tone, almost zionistic" but he was also interested because it seemed more complex politically; have been originally a traditional Basque song "it comes from a specific culture and also from somewhere else"
(source Cherkaoui, post performance talk, December 12, 2006, Corm Exchange, Brighton Dome
Khan and Cherkaoui perform Barhant rhythms at the beginning of section 7, (the mathmatical codified language for tabla players). Cherkaoui's decision to include tap, Flamenco and Riverdance as "fragmented ideas from everywhere" adds to the rhythmical content of the movement (SLC PP Discussion)
The aural setting also includes text spoken by Khan and Cherkaoui of Khan's personal story
Music visualisation is the chief dance-music relationship
Sawhney, in Mackrell, J. Opposites Atrract. Guardian, July 12 2005, n.p.:http://arts.guardian.co.uk
I've worked with Akram before on a range of projects but this ine has been different. With Kaash, the ideas we discussed were very intellectual: this time they've been more about emotion, human interaction.
I was excited by the idea of two dancers transforming each other and I wanted to reflect that by having the musicians interact too. I've written for cello, violin, percussion and classical Indian vocals and the four musicians will perform live, reacting to the dance in terms of colour, feeling and phrasing. It's been an interesting way for me to compose. There is still a strong structure, the music doesn't dissolve into pure improvisation but there are building blocks of sound and rhythm that can be moved around as the piece changes. it's a much more dynamic, more human relationship.
It's been great talking to Anthony about this. He has this kind of literal perspective where he sees abstract concepts, embodied in physical form. But it's come form Akram too. He's constantly evolving, and working in the studio with Larbi has brought out an emotional side to him he seems more open, more grounded. It's matured him.