If you're at the Dance Centre in the coming weeks, you'll be able to catch sight of the installation that Natalie Purschwitz has conceived for our Dance Histories project taking shape. On Wednesday, with the help of DC technician Daniel O'Shea, we rigged the main supporting platform into place. This was no easy task, as the installation is essentially a very complicated Calderesque mobile that will hang from the ceiling above the stairwell leading down to the main Faris Studio. And because Natalie will need to be able to raise and lower the platform while she is working on the installation, this involved figuring out a very complicated system of rope pulleys. And finding a three-quarter inch drill bit--which proved the most difficult task of all.
Nevertheless, success was eventually achieved, and now the main task is threading the hundreds and hundreds of names that Natalie has attached to different playing cards through the holes that I punctured through the platform. Having spent seven hours yesterday and Wednesday doing so, I can attest to how finicky and time-consuming this work is. Add to this the very real risk of the different bits of dangling threads getting hopelessly tangled as the platform is raised and lowered and just generally moved around, and you can understand how stressful all of this can quickly become. And it doesn't help that we're doing all of this in a tiny corner of the Faris lobby near the bar, and having to work around matinee and evening performances.
Natalie has worked out a very complicated system for how all the different playing cards fit together, which perfectly captures our goal of illustrating how all of these histories overlap and intersect--and which will be represented in the finished installation by the bits of orange coloured thread that horizontally connect the dangling vertical cards. But in an Excel spreadsheet, as a list of names and a numbered count of times mentioned, such a system is one thing. Three-dimensionally it's quite another, and Natalie said that if it sounded like she was talking to us like children in explaining things we shouldn't take offence; she was simply figuring things out herself in the process of articulating them.
I feel bad abandoning Natalie and the rest of the crew just as the work is getting started (Richard and I are off to London and Amsterdam for 10 days); but I'm sure there will still be stuff to do when I get back. And, in truth, it's probably good to have me and my clumsy fingers out of the way during the main and hardest phase of work.
As Justine said yesterday, that work will take as long as is needed to complete. And when it's done, the piece is going to look amazing.