Dance Ireland Residency: Sibeal Davitt

Dance Ireland Residency: Sibeal Davitt

Date:
Mon 13 Mar 2017 - Wed 15 Mar 2017
Time:
10:00 - 18:00
Venue:
DanceHouse

In April 2016 Sibéal performed ‘Fógraím/I Proclaim’ as part of ‘Embodied’, a series of six solos commissioned by GPO: Witness History Public Art Commission and Dublin Dance Festival. Using Morse code as a compositional point of departure, the work dealt with the theme of communication, crossed wires and freedom of expression. The final part of the piece consisted of a rhythmic dance section entitled ‘Buille’ and was created in collaboration with sound designer Steven Roddy. This section was made of sean-nós dance recorded on loops and layered to create a wall of rhythm. The loops were then produced and transformed into melodies which then took their own form.

Once the steps transformed into distorted melodies and sounds, Sibéal began to move away from the rhythmic style of dance and onto a free moving contemporary aesthetic.  For this solo, she wishes to engage with the rhythms and dynamics of her dance practice in order to enrich her understanding of her own traditional dance and how she has come to know it. Sibéal is keen to find out what it means to perform with a digitally reproduced sound of herself. For her, it signifies the endless possibilities technology can offer in performance.  She is also motivated by the notion of giving up control or autonomy in performance when working closely with a sound designer and how it can inform the creative practice.  Stemming from the shared creative process with 'Embodied', Sibéal will invite Stephen Roddy back into the studio and to research and develop different sounds and movements and how they can fit compositionally. Once the work becomes more solidified, she will begin to create with noted traditional musician and composer Niall Vallely. We will begin the process by exchanging ideas through recordings, then experiment with the outcomes and finally performing a crystalisation of the process.  She is also interested in incorporating concertina music as a means of deconstruction the established ‘sean-nós dance’ set up of a dancer and an accordion player. 

For further information:

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