Photo courtesy of Animal Show
By: Lauren O'Donnell
Animal Show is playing as part of the Hamilton Fringe Festival, and is in the Staircase Theatre in the Bright Room. It runs until Sunday, July 28th.
Over the course of its 55 minutes showtime, Katie Hood’s one-woman play takes you through the daring rescues and harrowing tales of her time as an animal rescuer on the West coast. It is a roller coaster of emotions; by turns hilarious, gut-wrenching, and uplifting. I laughed so hard that I cried, and then I just plain old cried.
Hood breathes life into every character and every situation. We’re right there with her as she saves bald eagles, seagulls, and cats alike.* We are taken through several different rescues, interspersed with Hood’s stories and dialogues with others. Each character is memorable and interesting, with unique and funny personalities and quirks. It’s hard to say what is more compelling: the daring rescue of a bald eagle stranded at sea, or speed dating gone disastrously wrong.
This show is a masterclass in storytelling, chock full of memorable tails and delightfully funny jokes. Provided free of context, my favourite line from the show is: “Cat urine is like the British Empire; nothing is gonna stand in its way.”
You should see this show if you like laughing uproariously, hearing stories about animals, and questioning your existence.
10/10, would cackle maniacally again.
For more information, visit http://hamiltonfringe.ca/shows/animal-show/
*And, of course, she’s never held a cat before.
Photo courtesy of HCA Teen Creative Collective
By: Lauren O'Donnell
“The voices of the youth should be heard.”
The Hamilton Conservatory for the Arts is a beautiful building chock full of art and history which is itself worth the price of admission. “HCA Teen Creation Collective: Connection” is playing there until Saturday, July 27th.
As we entered the space, we were told that the designer of the building was a very short man whose girlfriend left him for someone much taller, and as vengeance he created the space so that all tall people were forced to bang their heads. Regretfully, this turned out to be false. As we trekked up several flights of stairs we were regaled with further tales of how the building was initially meant to be a stair factory, but when it fell through they decided to shove as many stairs into the building as possible. This too turned out to be false, much to my disappointment.
As we got to the top of the stairs, we were treated to a series of sketches performed in alternating spaces. The scenes were funny, well written, and excellently performed. They were spaced out throughout the different time periods of the HCA, from music conservatory, to youth home, to derelict building, to the art conservatory that it is today. Through each scene you can truly tell how much the group cares about the building they are in. There are many jokes made about the number of stairs. Deprived of context, my favourite quote was, “cats are cool”.
Each of the time periods blends seamlessly together to form narratives of connection across different social groups, and even across different decades. Indeed, the strongest impression that I got from this play was an overwhelming sense of community. The show was created through devised theatre, which is a form of collaborative and organic creation. As a result, the show was and is shaped by the experiences of the performers, both as individuals and a group. It was truly a delight to see these young artists shaping and creating their own show for the Fringe Festival, and I look forward to seeing what they do next.
Rating: 5/5 Sta(i)rs.
From April 6 to April 17, the Studio Art program’s 2019 graduates will present the annual SUMMA exhibition. Entitled Counterpoint, the show will be curated by Hamilton textile artist Hitoko Okada. For the first time in over 30 years, the McMaster Museum of Art will not house the show due to its ongoing updates. The exhibition will instead take place at the Cotton Factory.
McMaster Studio Arts is a small program, with the fourth year class consisting of only 19 artists. With instruction on a range of media and a focus on environmentally responsible practices, the program has produced diverse artists who care about the world around them. Counterpoint means “to combine elements” and is fitting considering the amalgamation of their various styles and the balance they try to strike within their individual works.
The graduates organized the exhibition themselves. While it gave them a chance to learn more about the lives of professional artists, it also taught them to work together. Coordinating among 19 people was not easy and after some bumps in the road to find the perfect venue, they are all relieved to see the show finally coming together.
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Fernando spends a fair amount of time in nature, drawing and photographing the landscape around her. Back in the studio, she takes the colours, textures and lines from the environment to create the emotional and abstract landscape paintings that she’ll be displaying at Counterpoint.
“For me, [Counterpoint is] about… this the balance between the organic and the artificialness in my work… [I]t's taking… different colors… , textures and mark making and creating harmony and balance between all those different things within one image and creating a sort of peacefulness in that work,” Fernando explained.
Throughout the process of organizing the SUMMA show, Fernando learned how to survive as an artist. She feels that she now has an art practice of her own and regards her peers as professional contacts. As she leaves McMaster to pursue teaching, she will take those skills and contacts with her.
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For Lee, Counterpoint refers to the way her class’s wildly different works complement each other. Having spent four years critiquing and supporting one another’s practice, the exhibition represents the harmony between their different themes and materials.
The Korean-Canadian artist explores traditional Korean materials in her work. She portrays these traditional materials in a modern, digital format and then incorporates threading to unite the two ideas.
“I always get confused between Canadian and Korean aspects of myself… [T]his sense of detachment, trying to attach to something or being porous, kind of like a sponge, absorbing a lot of different cultures in order to make up my singular identity. And just like maintenance of this traditional and modern form of art,” Lee said.
Currently aiming to go into interactive design, Lee feels she learned the reality of being an artist. She has been exposed to the business side of the art world by learning to solve problems creatively and produce even without inspiration. The program’s push toward using materials to convey subtle themes has evolved Lee’s art practice.
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Cooper didn’t have a lot of purpose behind his art when he entered the studio arts program. Four years later, he feels he is a more deliberate artist and currently explores ideas around memory and coming of age. At Counterpoint, he will be presenting acrylic paintings of Westdale, where he grew up.
“[W]ith my work, I just try and talk about what that experience was like… [D]ifferent places… might not necessarily be important to other people but I guess I have certain memories there,” Cooper said.
The fact that this is the last art gathering of his university career saddens Cooper, but he knows the entire class is proud of the show. Despite the challenges they faced, they demonstrated that they could accomplish anything with collaboration. The different backgrounds and art practices of the class would not seem to mesh, but Cooper feels a nameless common thread unites their work.
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McVeigh believes process and environmentalism brings together her diverse class’ work. A self-identified environmental artist, she explores interactions between living things with one another and with inanimate objects. Having grown up in a small town near Point Pelee National Park, she spent a lot of time in nature growing up.
McVeigh’s work for Counterpoint is a series of photolithographic prints. This long and old process of creating images is meaningful to her. She tries to present her dystopian and nonsensical images in an aesthetically pleasing way with vintage elements.
“I use a lot of vintage imagery in my work… [A]fter World War II… there was the baby boom and they created a very unstable environment where it was a throwaway society. Nothing was fixed, it's all just thrown away… And then it wasn't until the ‘90s when the environment became a very serious topic,” McVeigh explained.
Her work is personal, but the program has made her more comfortable with speaking about her art. By sharing these narratives with her classmates and professors, they all grew close. She anticipates that this graduation show will be bittersweet, but there is a lot from her time at McMaster that she will be taking with her. She learned to critique her own work and reach out for help, which will help her as she pursues a career in sustainable architecture.
After graduating with her Bachelor of Fine Arts with minors in theatre and film studies and music, Conti will be going into teaching. Her teaching program will focus on educational art programming in the community, something that Conti is an advocate for. She is excited about the fact that Counterpoint will bring her program’s work off campus and into the Hamilton community.
Conti will be showing a five-piece installation consisting of floating boxes with deconstructed paintings in them. Her work revolves around her experiences with depression and anxiety to open a dialogue about mental health.
“[S]o for this body of work, there's five different stories to which I'm telling, one of which is the story about my mother's cancer. Normally… they're more negative experiences that I'm trying to understand in a more positive way. So my strokes are colors that are brighter in trying to… accept these experiences and… learn from them but also move forward,” Conti explained.
With her theatrical background, Conti sometimes feels as if she is performing herself. There is vulnerability in her portrayal of her life and she explores privacy versus vulnerability in her work. However, her time at McMaster gave her the confidence to tell her story through theatre, music and art.
The graduation show will open with a reception at the Cotton Factory from 11:30 a.m. to 3 p.m. on April 6. The graduating class looks forward to sharing their work with the Hamilton community.
By: Andrew Mrozowski
Stop. Take a second and look up from this article. You’ll most likely see everyone around you on some form of technology, be it on their phones, tablets or computers. We now live in a world where we are so heavily dependent on technology. According to Yvonne Lu, people should be more conscious about how technology affects their identity.
Originally starting off her undergraduate career in commerce, Lu realized her passion laid in a different faculty. Lu began working in marketing and communications but felt like something was missing. She decided to take on a double major between multimedia and theatre and film.
Now in her final year at McMaster, Lu decided to combine her two disciplines into one overall thesis, taking the form of an interactive multimedia installation and a physical performance called interFACE, as part of the School of the Arts Honours Performance Series.
The concept for interFACE came to Lu over this past summer when she was employed by a music video company to be their social media coordinator. Although typically not very active on social media in her own life, Lu found herself getting jealous from the various platforms that she managed as there was an overall feeling that everyone was doing better than her.
“Although there definitely were positive and negative experiences, always being on social media and seeing that people younger than me were doing cooler things than I was, working with huge producers, big companies and getting more responsibility than I was… a lot of the times I felt jealous. It’s why I felt I was a step back, I understood why others were successful and a lot of it was trying to catch up with people,” explained Lu.
interFACE examines how young women interact with technology and how this oversaturation impacts their identity as they grow up. Stemming from a vignette of experiences, the multi-disciplinary art experience allows attendees to delve into the development of identity to look at similarities and differences between how we portray ourselves online versus in person.
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“The question to consider is whether or not social media and digital technology enables us to do more things, or if it consumes us and we are at the whim of the mass media,” explained Lu.
This form of installation is experimental as it features two parts. Viewers will first embark through an audio-visual capsule, which is an audio-sensory experience that saturates the audience in a world that Lu and her team have designed to convey the importance of why we should pay more attention to our own identities. Next viewers will be seated to enjoy the physical portion which expands on what they have observed in the audio-visual capsule.
“This is not something that you would see in traditional theatre. It’s not a narrative or linear piece. We are creating a visceral experience for both our collaborators and audience. We want them to feel that they are in the belly of the beast,” said Lu.
For the thesis student, what the audience takes away from the experience is the primary objective of this piece.
“There isn’t a specific message I want people to walk away with. It’s live theatre and it’s all about interpretation. For us, that’s kind of what I want audiences to walk away with. Questions of what they felt. It’s an emotional journey rather than a narrative,” said Lu.
Show times for interFACE will run on March 28 at 12:30 and 8 p.m. and on March 29 and March 30 at 12:30 and 7 p.m. at the Black Box Theatre in L.R. Wilson Hall. Admission is free.
By: Jackie McNeill
Tottering Biped Theatre, a Hamilton-based theatre company founded by Trevor Copp, has reached over 600,000 views on a TED Talk about ‘liquid lead dancing,’ a gender neutral form of partner dancing.
Several McMaster alumni are involved in the theatre company, particularly with their summer Shakespeare work held at the Royal Botanical Gardens.
The theatre is social justice-focused, devising works that have addressed issues like poverty, same sex marriage and mental health and different interpretations of Shakespeare.
However, as prominent as the theatre’s work is, it is not what Copp is arguably best known for.
In 2015, he and his colleague Jeff Fox delivered a TED Talk in Montreal on a dance concept they developed called ‘liquid lead dancing.’
Liquid lead dancing, a form of gender neutral partner dance, was born out of Copp’s discomfort with the systems and rules he was perpetuating as a ballroom dance teacher.
As explained in their TED Talk, the strictly gendered partner dancing promotes a relationship shaped by dictation, where the man leads and the woman follows.
He and Fox developed liquid lead dancing to turn this dictation into a negotiation.
“It proposes a system where lead and follow are exchanged throughout the course of the dance regardless of gender,” Copp explained.
This change of form will hopefully become normalized as a dance and help to normalize healthy relationships outside of partner dance as well.
The liquid lead dance between Copp and Fox morphed into a play about creating the first dance for a same sex wedding.
After a successful run of the play, a former student contacted Copp about presenting their dance form as a TED talk.
Copp and Fox’s TED talk was picked up by TED.com, and has over 600,00 views to date.
Despite the success of the TED talk, Copp admits that it has not been all smooth sailing promoting liquid lead dancing.
“Most people are comfortable with their given role, and, even though they aren't particularly traditional in their thinking, allow it to decide their roles as dancers. There's comfort in the familiar. I don't begrudge it at all. I just think that if you're going to recreate a culturally outdated form you should be conscious of it by making a choice to do so as opposed to sleepwalking your way through the dance form.”
Acknowledging that the work he had done with liquid lead dance is not that well-known in Hamilton, Copp is aiming to work harder at spreading the dance form in the future.
As explained in the TED Talk, liquid lead dancing is not about dance alone.
By addressing the strict roles perpetuated in partner dancing, Copp and Fox have begun to address the erasure of non-binary people and same-sex couples in dance, in addition to the exclusion of Black, Asian and other non-white bodies.
By bringing these issues that are prevalent within ballroom and partner dance to a wider audience with the TED Talk and Copp’s theatre company, the same issues that are prevalent in everyday life stand a better chance at being addressed.
Copp has performed liquid lead dance at conferences throughout Ontario, New York and Ireland and is looking forward to next presenting at a conference on consent and sexuality with Planned Parenthood in Virginia.
By: Natalie Clark
When the quaint and beloved Westdale Theatre closed down in early 2017, residents of the Westdale community and many McMaster students were especially upset. Although fairly run down, the Westdale had been the community’s hot spot for Friday night dates, Hollywood’s must-see films and the best popcorn in town for as long as anyone could remember.
On Feb. 14, the Westdale community celebrated the long-awaited re-opening of the Westdale Theatre. Guests were told to dress in period attire for a special event accompanied by cocktails and a screening of the 1942 classic, Casablanca. The event also featured a silent auction, where guests could explore the new and improved venue while admiring local Hamilton art.
With searchlights lighting up the night sky and a red carpet gracing the floor of the doors of the theatre, the Westdale certainly dressed to impress for their grand re-opening. The 350 ticket event sold out in two weeks.
For the past 30 years, the Westdale was owned by an elderly man in Toronto. It wasn’t until he passed away that his family put the theatre up for sale, allowing new owners to claim the theatre, known as the Westdale Cinema Group.
“An enormous amount of changes were made… the theatre was in terrible condition, we spent 2.5 million dollars restoring it,” mentioned Fred Fuchs, chairperson of the Westdale Cinema Group.
“Besides equipping it with state-of-the-art projection, screens, new seats, new sound, new acoustic panelling, we also had to completely redo the air conditioning and the heating, the electrical system, the roof, the bathrooms — it was a complete overhaul of the entire theatre,” said Fuchs.
About two years later, the Westdale Theatre is back open for business, and the community is thrilled. Westdale resident and Silhouette alumnus, David Simpson, had one word to describe the re-opening event, “fabulous”.
“I think that the re-opening will be great for Westdale and for McMaster too, creating a hub for the community,” said Simpson.
Members of the Westdale community are thrilled about the re-opening of the theatre but are also admiring the other advantages that the theatre welcomes to the community.
“It’s wonderful to see it revitalized, and to see hundreds of people in the theatre is great,” said Vivian Lewis, a member of the Westdale community.
“I think that the theatre is going to bring a diversity of films to the community,” mentioned Lewis. “Right now in Hamilton we just have lots of box theatres that are showing the same thing on every screen, and so this theatre will be our chance to see more art films and more alternative films that aren’t currently available in Hamilton.”
Aside from standard film movies, the Westdale Theatre will also be hosting frequent live music shows, talks, performances and other special events.
“I’m excited about the idea that it’s not just a movie theatre anymore and that it’s also performance based,” said Sue Trerise-Adamson, another Westdale resident.
“I think that is a really good idea, and it expands all the possibilities of the theatre… I think it’s a real anchor for the whole community of Westdale,” mentioned Trerise-Adamson.
Westdale locals have already begun visiting the theatre for their regular screenings and are grateful to have the theatre back in the community.
Experience the new and improved Westdale Theatre on your own and check out all available screenings and shows on their website: https://www.thewestdale.ca/now-playing/
What is the value of an apology? That is one of the questions that JUNO-nominated singer and songwriter Khari Wendell McClelland is exploring in his new concert, We Now Recognize. The show, which consists of all new songs, will tour six Canadian cities for Black History Month. It comes to the Lincoln Alexander Centre in Hamilton on Feb. 19 at 8 p.m.
We Now Recognize is a partnership between McClelland and Project Humanity, a non-profit organization that uses the arts to raise social awareness. The two collaborated in 2017 and 2018 to create the documentary theatre musical of the Vancouver-based artist’s debut solo album, Freedom Singer. Freedom Singer interpreted songs that might have accompanied McClelland’s great-great-great-grandmother Kizzy as she escaped from slavery via the Underground Railroad.
This show is another personal work, although McClelland originally took inspiration from the current sociopolitical landscape. The number of political apologies that have occurred struck him in the past decade or so and especially in Justin Trudeau’s term. He began to question what constitutes a substantive and meaningful apology.
In writing the show, McClelland found himself reflecting on being wrong and the extent of his compassion for those who do wrong. He considered how recognizing wrongdoing feels and how to move forward from it. With this, he also thought about the relationships he has with the generations of men in his family.
“[I was] looking at my grandfather and my father and my brother and even considering what it would be to be… a father and what the implications might mean for a larger society… [I]t's men who are exerting power and have a lot of control in society… What are some of the ideas… I grew up with that I have at different times perpetuated in my own life and trying to figure out like what that might look like through a generational lens,” said McClelland.
The show explores other ideas that McClelland cares about, such as community and the way we wield power over the natural world. In bringing different ideas in proximity with one another, McClelland sees the work as an assemblage like a quilt or collage.
McClelland sees being able to explore a multitude of ideas as a way of celebrating Black life. Unlike his past work with Freedom Singer, which tackled the history of slavery head on, We Now Recognize, is a subtler approach to Black history that it more rooted in the present and in the future.
“I feel like there are ways in which black life can be can be understood as a monolith, that black people in Black communities aren't allowed to have a diversity of experiences and perspectives. I'm very curious… about creating some kind of radical subjectivity around Black life, like being able to be all these different ways that we are just as human beings,” McClelland said.
Not only will the concert allow McClelland a chance to bring forth the multiplicity of Black life, it will allow him to stretch himself and grow as an artist. The personal show will force him to be vulnerable in a way that he hasn’t been before with the communities across Canada that has supported him.
McClelland sees the connection to music as something that erodes for many people over their lifetime. For him, however, it is something that he hasn’t stopped doing ever since it became a part of his life as a kid growing up in Detroit. It moves him in a way that isn’t necessarily positive or negative, but just is. He also sees the medium as essential to building community.
“I feel like healthy communities move together. That they practice together, that they have rituals together… [O]ur connection to artful practices actually has the potential to heal us as communities and individuals coming together… has this real potential for a deep kind of healing… I think it is just a deep medicine in the way that we come together and make music and make art,” explained McClelland.
McClelland is looking forward to this tour to see how audiences connect with the new songs. He is eager to see the way in which people are moved by this meditation on wrongdoing and apology, whether positively or in a way that is a little uncomfortable.
By: Natalie Clark
Hamilton has been getting its fair share of the winter weather this season, so in what better way to embrace it than to explore all that Winterfest 2019 has to offer?
Winterfest is a two-week long affair that features winter events in and around the city. Beginning Feb. 1, there will be free and paid events held throughout Hamilton such as open skate, live music and various themed events. Take a break from studying and enjoy the winter weather while taking part in this timely Hamilton tradition.
Juno Award winner and Hamilton born indie rock singer/songwriter Matt Mays will be performing at Hamilton Central Public Library on Feb. 10. Mays is currently on his Dark Promises Tour and will be making a pit stop in his hometown for an intimate show. Head on down to Hamilton Central Public Library for some of the best music Hamilton has to offer. This is a paid event and tickets can be purchased on Eventbrite.
Frost Bites is a four-day event in partnership with Hamilton Fringe featuring some of Hamilton’s best theatre performers. Each night, artists will perform “bites” of theatre shows that are meant to last no longer than 20 minutes each. The festival will also be taking place on Feb. 14 to Feb. 17 at two community locations, the New Vision United Church and St. Paul’s Presbyterian Church.
On Feb. 13, Winterfest will be holding a lecture featuring guest speaker Kojo “Easy” Damptey, an afro-soul musician and scholar-practitioner. Born and raised in Ghana, he attempts to address societal issues and enact change in the world with his lyrics. He will be speaking on behalf of stories of existence, resilience and resistance. The event is free and will be held at the Historic Ancaster Old Town Hall. All are welcome to join the celebration and commemoration of Black History Month.
Stressed? Bored? Dying to pick up a new hobby? If any of those resonate with you then this beginners knitting course may be up your alley. For $90 you’ll learn the basics of knitting over the course of three classes, running on Wednesdays from Feb. 13 to Feb. 27. Grab a group of friends and head down to the Art Aggregate in East Hamilton for all the tips and tricks you need to know about knitting.
In honour of the beginning of the Chinese New Year on Feb. 5, Barton Stone Church will be hosting a Fung Loy Kok Taoist Tai Chi Open House on Feb. 9. This event is free and includes a demonstration and class, as well as various hot drinks including tea and apple cider! There will be volunteer staff available to chat with you about their class schedule, as well as information about the benefits of Taoist Tai Chi. The event is sure to be a warm evening full of new learning experiences.
The Canteen is one of Hamilton Winterfest’s signature events. Featuring live music from a variety of artists, including Hamilton-based singer/songwriter Ellis, a cozy fire, winter marketplace and various other events, this event is worth the trip to the Battlefield House Museum & Park National Historic Site on 77 King Street West. The location is also known as one of Canada’s most significant monuments of the War of 1812. Aside from participating in the event’s attractions, you are also welcome to explore the museum and historic grounds on site. This is an all-day event taking place on Feb. 16 starting at 10 a.m.
It has been said that life is a dance. No one knows that better than celebrated Canadian dance artist Peggy Baker whose dance installation Move captures the duality of caregiving. The free installation will be performed on Feb. 2 at the Art Gallery of Hamilton as part of McMaster University’s Socrates Project.
The dance installation takes place in a 28 by 28-foot square surrounded by a frame. It is 70-minutes long and is organized into four cycles. The cyclic nature of the piece and the fact that it rotates throughout means audience members can take it in from multiple angles.
The performers are not necessarily dancers by trade but members of the community who love dance. There are 16 of them dancing in pairs that reverse roles with each cycle. They were selected in November 2018 during a two-hour workshop and audition.
The story of Move began 10 years ago when Baker first presented the dance as part of Toronto contemporary art event Nuit Blanche. At that time, the dance was 20 minutes long and done on the hour every hour for 12 hours with 12 pairs of professional dancers. When Baker put on Move for the second time at the Art Gallery of Ontario a couple years later, she decided to extend the length of the piece and do it with fewer dancers.
It was while doing the dance at the Art Gallery of Ontario that Baker thought about using community members as the dancers. She has since put on several performances of Move with non-professional dancers, staging the entire performance in five three-hour rehearsals.
Baker’s own experience with caregiving formed a part of the inspiration for the installation. She was the primary caregiver to her late husband, who had primary progressive multiple sclerosis. She found that caregiving involves a beautiful rapport between the one receiving and the one giving care.
Baker was also inspired by art and dance itself. While teaching in Philadelphia, she was struck by the beauty of partnership when she had dancers pair up and help another during some difficult movement sequences. Also while in Philadelphia, she saw an exhibition of paintings by American painter George Tooker and was inspired by the images of people embracing one another.
The dancers changing roles throughout the piece represents the inevitability of being on both sides of caregiving. The choreography for the piece overall is formal and highly organized, mimicking the ritualized elements of human lives. The choice to have four cycles mimics the cyclic structure of the seasons and the fact that there are four cardinal directions.
“[I]t’s something universal. We all receive that kind of intimate physical care and physical nurturing as infants and children. We may all find ourselves in a position where we where we are called upon to give care to a parent or a partner or a child. And we may all eventually need to receive care,” explained Baker.
The electro-acoustic soundtrack, composed by musician and composer Debashis Sinha, is also organized into four cycles. It is subtle and atmospheric, not quite music but a sonic landscape for the audience and dancers to reside in.
Baker encourages audience members to walk around the square performance space, close their eyes or turn their back to view the art in the gallery. The space allows viewers to feel comfortable arriving after it begins or even leaving before it ends.
“I like it to be in a public place. I like it to be in a place that already is claimed by the community as being a place in their town or city like this is… an art gallery, a foyer of a theater, a market… [I]t needs to locate itself in the heart of the community… [I]t's about community building basically,” Baker said.
At the end of the piece, the dancers pour water for one another and drink it. One of the dancers in the group, a ceramic artist, suggested that the group each makes the vessel that they drink out of. At the end of one of their rehearsals, she guided her fellow dancers through making their own bowl.
The creativity and passion brought on by these community dancers give this installation of Move a unique tint. However, the beauty of Move is the universality of the theme and the way in which it can move anyone.