By Liz Aggiss, Billy Cowie
Liz Aggiss and Billy Cowie, recognized jointly as Divas Dance Theatre, are popular for his or her hugely visible, interdisciplinary brand of dance functionality that comes with components of theatre, movie, opera, poetry and vaudevillian humour. Anarchic Dance, together with a booklet and DVD-Rom, is a visible and textual checklist in their boundary-shattering functionality work. The DVD-Rom features extracts from Aggiss and Cowie's paintings, together with the highly-acclaimed dance film Motion keep an eye on (premiered on BBC2 in 2002), rare video pictures of their punk-comic live performances because the Wild Wigglers and reconstructions of Aggiss's solo functionality in Grotesque Dancer. These films are cross-referenced within the book, allowing readers to check functionality and statement as Aggiss and Cowie invite a vast variety of writers to check their concert and dance reveal perform via research, conception, dialogue and personal response. generally illustrated with black and white and color photos Anarchic Dance, offers a finished research into Cowie and Aggiss’s collaborative partnership and demonstrates quite a number intriguing methods during which dance functionality should be engaged severely.
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Additional resources for Anarchic Dance
Fright Fright jostling near the edge Dark night Way down there below Hold me tight Is it time to go now Might might think that I was rather scared Left right marching on to glory Bite Bite the bullet so they say Don’t ﬁght No matter how they cry quite quite sad to say goodbye ■ writing dance 19 A device Cowie often uses is to have two very diﬀerent experiences of the same text running parallel to each other. In Falling Apart at the Seams, Aggiss’s text about losing parts of her body in shops and on park benches is spoken in a pool of light, while her legs appear to go one way, her arms the other.
Through these interventions the work opened a space and became a proposition for the stage as a scene where a woman’s life takes place. In gestures passed on from one woman to another, their outstretched limbs touch and transmit meaning through generations. Their gestures reach beyond the temporal now, unfolding through generations, installing a simultaneity of perceptions through a matrilineal inheritance between mothers and daughters, grandmothers and grandchildren. Coming a-cropper: Falling Apart at the Seams The exclusive practices of dance refuse admission to the ‘unbound’ body.
Twentieth-century feminism sought to bring women ‘into the light’, to give them visibility through access to representation and confer on them the status of subject. But, as the work of writers such as Judith Butler (1993) make clear, this ‘becoming subject’ is at the same time also radically subjected. She is both produced and regulated, subject and object. In this sense, the contract between man and woman in the carol brown ■ 10 marriage of relations might also be read as the contract between spectator and performer in the empire of the gaze.