Email: connect@surfacearea.org.uk

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Company Director, Nicole Vivien Watson will be performing at the Theater for the New City, New York City, from the 18-21 October 2018

Company Director, Nicole Vivien Watson, receives an invitation from the New York Butoh Institute Festival 2018. Curated by Vangeline for Vangeline Theater/ New York Butoh Institute and will be performing The Mud Formed A Finger, Pointed, made in collaboration with Matthew De Kersaint Giraudeau (Sound) and Ben Jeans Houghton (Sculpture).

The performance invokes the narrative imagery of creation myths where humans are formed from the earth, within the aesthetic of the fetish Messy Play and through the language of Butoh, the performance links our understandings of the contemporary body and our imaginings of a primordial past.

With thanks to Arts Council England and The British Council.

Surface Area Dance Theatre CIC are a Disability Confident – Level 2 Employer

Disability Confident is a scheme that is designed to help recruit and retain disabled people, and people with health conditions for their skills and talents and supports employers to make the most of the talents disabled people can bring to the workplace. The scheme aims to aid successful recruitment and retain disabled people and those with health conditions. Developed by employers and disabled people’s representatives to make it rigorous but easily accessible – particularly for smaller businesses.

“It is an important forward – step by the government to officially recognise the skills and abilities of disabled people and people with health conditions within the workplace. Surface Area Dance Theatre is proud to gain the certification of a Disability Confident Employer and will reflect upon guidance offered by the government, to maintain and improve upon best practice”. Nicole Vivien Watson, Director of Surface Area Dance Theatre.

 

A research and cultural development journey to West Japan

Company Director, Nicole Vivien Watson, returns to the UK from a remarkable journey to the West coast of Japan. The venture was motivated by her on-going research into the life and works of Lafcadio Hearn (小泉八雲).  The photographs below were taken at Hearn’s former residence in Metsue. With many thanks and kind wishes to Bon Koizumi, Lafcadio Hearn Memorial Museum Director; Great-grandson of Lafcadio Hearn.

Lafcadio Hearn (1850–1904) was a British national of Greek and Irish descent, who was educated at Ushaw College in County Durham, England. After travelling over halfway around the globe, he arrived in Japan. In 1896, he married Koizumi Setsu, the daughter of a Matsue samurai, and became a Japanese citizen. During his fifty-four years of life, he produced thirty works, including Kwaidan, which he wrote in his later years.

 

Photographs of Lafcadio Hearn’s home and garden Matsue, Japan7 of June, 2018. By Nicole Vivien Watson.

With support from Dancers Career Development

Over the Summer months, Nicole will enrol on an Experimental Filmmaking course at City Lit, in Covent Garden, London. The course will increase Nicole’s knowledge and understanding of filmmaking process and techniques. This adventure and forward-step, is made possible by a bursary, awarded to Nicole by Dancers Career Development. ” I am thrilled to have this opportunity and to eventually become more at ease and knowledgable of the processes and techniques used in filmmaking. I shall invest this learning into future, creative outputs and I will enjoy the challenge of beginning to learn a new technique”. https://thedcd.org.uk

In partnership with the New York Butoh Institute

“With thanks to Arts Council England – Artists International Development Fund, I can accept an invitation from the New York Butoh Institute, to perform and participate in the Institute’s annual festival of conferences, live-performances and presentations, taking place in Manhattan over a period of 21 days, throughout October 2018. I look forward to celebrating the art-form, in the company of the international Butoh community”. (Company Director Nicole Vivien Watson)

Action Learning

“Very pleased to mention that I am now a member of Action Learning. Facilitated by Independent Dance and Dancers’ Career Development, with support from the Bonnie Bird Choreography Fund. Look forward to meet my fellow set members, at the Siobhan Davies Studios later in the month”. Nicole Vivien Watson

Hands of Goze at the Daiwa Foundation

This evening’s talk at the Daiwa Foundation was truly inspiring. I’m thankful to have heard Professor Kojiro Hirose’s touching account of meeting Haru Kobayashi (1900-2005), who was known as the “last Goze”.

Goze is a term referring to visually-impaired female musicians who travelled Japan playing shamisen. After World War II, with the expansion of the welfare service for disabled people and the enhancement of education for visually impaired people, Goze came to be recognised as relics of the pre-modern times.
Hands of Goze: the Tactile Culture of Visually Impaired People in Modern Japan. Professor Kojiro Hirose discussed “the hands of Goze” and approached the relevance and the possibility of Goze culture from three different angles: “touching the sound”, “touching the colour”, and “touching the heart”. Referencing Goze folk songs, which Goze created and spread as their own oral traditions. –

Kojiro Hirose is an associate professor at the School of Cultural and Social Studies at the Graduate University for Advanced Studies, having received a Ph.D in Japanese Religious History from Kyoto University in 2000. He was also appointed associate professor at the National Museum of Ethnology in Osaka, Japan. Since then he has worked on practical study and the prevalence of “tactile exhibits”, aiming at not only a barrier-free museum for disabled people, but a “universal museum,” which everyone can enjoy.

Published by Nicole Vivien Watson

Surface Area Dance Theatre: The Mud Formed A Finger, Pointed & Raft at Berwick Visual Arts

“Raft”

The Mud Formed A Finger, Pointed explores creation myth and Messy Play, while Raft is a navigation of self via astrology – two live 20-30 minute performances with a 30 minute interval. Made in collaboration between Matthew De Kersaint Giraudeau, Ben Jeans Houghton and Nicole Vivien Watson.

The Mud Formed A Finger, Pointed offers a study of the human body as an uncanny object that oscillates between figuration and abstraction, body and material, depicting an object becoming human, a human becoming an object and the protean states between.

Nicole Vivien Watson emerges from an industrial bucket, her body covered in dripping, viscous liquid. The work embodies a contemporary creation myth that melds object and subject, abject and sacred, non-human and human. By invoking the narrative imagery of creation myths where humans are formed from the earth, within the aesthetic of the fetish Messy Play and through the language of Butoh, the performance links our understandings of the contemporary body and our imaginings of a primordial past.

Raft explores inner and outer landscapes, through Nicole’s choreographed mapping and navigation of the solar system and the self performed on a sculptural Zodiac stage. Presenting a dialogue between the microcosm and the macrocosm, mapping the relationships between distant stars, the present individual and the planets, in an exploration and interogation of the esoteric and exoteric aspects of self.

Raft draws inspiration from: ‘The Archaic Revival’ – the invigoration of principles and practices whose efficacy was mislaid during the divorce of science and spirituality. ‘Alchemical Practice’ – the ritual arrangement of persons and symbols in the physical world to create a narrative dialogue that changes the conceptual and emotional world within us. ‘Self exploration’ – the quest to know oneself via a navigation of our emotional and historical experience of being.

Tickets available from The Maltings Box Office on 01289 330 999 or online here

The Mud Formed A Finger, Pointed & Raft is supported using public funding by the National Lottery through Arts Council England.

 

THE MUD FORMED A FINGER, POINTED & RAFT

THE MUD FORMED A FINGER, POINTED & RAFT

 

8th of December 17, at CCA: GLASGOW

https://www.cca-glasgow.com/programme/surface-area-dance-theatre-the-mud-formed-a-finger-pointed-raft

 

20th of December 17, at  WORKPLACE GATESHEAD

http://www.workplacegallery.co.uk/events/65/ 

 

Two live 20-30 minute performances with a 30 minute intermission.

The Mud Formed A Finger, Pointed explores creation myth and Messy Play, while Raft is a navigation of self via astrology. Made in collaboration between Matthew De Kersaint Graudeau, Ben Jeans Houghton and Nicole Vivien Watson.

The Mud Formed A Finger, Pointed offers a study of the human body as an uncanny object that oscillates between figuration and abstraction, body and material, depicting an object becoming human, a human becoming an object and the protean states between.

Nicole Vivien Watson emerges from an industrial bucket, her body covered in dripping, viscous liquid. The work embodies a contemporary creation myth that melds object and subject, abject and sacred, non-human and human. By invoking the narrative imagery of creation myths where humans are formed from the earth, within the aesthetic of the fetish Messy Play and through the language of Butoh, the performance links our understandings of the contemporary body and our imaginings of a primordial past.

Raft explores inner and outer landscapes, through Nicole’s choreographed mapping and navigation of the solar system and the self performed on a sculptural Zodiac stage. Presenting a dialogue between the microcosm and the macrocosm, mapping the relationships between distant stars, the present individual and the planets, in an exploration and interogation of the esoteric and exoteric aspects of self.

Raft draws inspiration from: ‘The Archaic Revival’ – the invigoration of principles and practices whose efficacy was mislaid during the divorce of science and spirituality. ‘Alchemical Practice’ – the ritual arrangement of persons and symbols in the physical world to create a narrative dialogue that changes the conceptual and emotional world within us. ‘Self exploration’ – the quest to know oneself via a navigation of our emotional and historical experience of being.

 

The Mud Formed A Finger, Pointed & Raft is supported using public funding by the National Lottery through Arts Council England