A delicate unpicking of a daughter-father relationship in movement, text and song with aninvitation to view tradition in adifferent light.
Bád Shiobhán is a new dance work by choreographer Siobhán Ní Dhuinnín.
In this honest and authentic piece, Siobhán layers movement, text, song and visuals. Bád Shiobhán centres around the relationship between Siobhán and her father, traditional boat-builder Pádraig Ó Duinnín, and a 3-hand West Kerry Naomhóg, the traditional light-weight, wooden-framed canvas-covered canoe usually rowed at sea on west coast of Ireland.
The work weaves the traditional into a contemporary performance setting, uncovering the nuances of an imperfect relationship. Working with some of the boat's materials (long slender laths made of spruce, 10 yards of canvas) to create textures that are both playful and striking, the piece exposes the fullness of the performers’ experiences, aiming to reach deep into peoples’ hearts and leaving them with a sense of hope. A hope that is human and attainable. More
Director/Choreographer: Siobhán Ní Dhuinnín
Performers: Siobhán Ní Dhuinnín, Pádraig Ó Duinnín
Composer: Neil Quigley
Rehearsal Director: Laura Murphy
Visual Design: Dervla Baker
Lighting Design: Hanan Sheedy
Costume Design: Deirdre Dwyer
Produced by: Siobhán Ní Dhuinnín & Laura Murphy
Bád Shiobhán is funded by Arts Council, Cork County Council Arts Office and Ealaín na Gaeltachta with kind support from Ionad Cultúrtha an Dochtúir Ó Loingsigh, Dance Ireland and Firkin Crane.
‘Glisten’, is an new solo work, that is centred by a physical performative practice. It focuses on the materiality of the body, spatial relationships and triggering new territories through the provocations of Xenofeminist Manifesto and speculative fiction.
Falco’s pop video ‘Junge Römer’, I watched on TV when I was a kid. It was probably my first positive and encouraging experience of Otherness. Over the past year this song kept re-surfacing, seemingly randomly at first. In the refrain of the song there is one line that stuck with me “Young Romans dance differently than the others”.
Acknowledging this, in combination with simultaneously reading of ‘The Xenofeminist Manifesto: A Politics of Alienation’, by Laboria Cuboniks - I started questioning how one might utilise the agency of dance to explore and seize alienation as an impetus to generate new worlds. “We are all alienated - but have we ever been otherwise?”, is a trigger to explore this new territories through an embodied movement practice. I am connecting to these territories by developing a new performative practice focused on the articulation of choreographic scores. Anchoring the physicality in anatomical specifies and imaginative settings, allows to access a highly visceral movement vocabulary whilst offering the spectator a clear opening into the work.