On Dance and Performance...
 
The majority of CASSIEL projects are associated with contemporary dance. In some senses, CASSIEL might be considered a dance company: the focus of the performance is the dance. And yet the artistic director is a musician. We seek to combine dance and music, not in traditional ways which reinforce the culture of classical disciplines like ballet and opera, but as elements which interact in new ways to form a composite whole.

We are primarily concerned, not with images, but with imagery. This is why we avoid the rich classical visuals associated with ballet and the literalism of modern dance-theatre, being drawn instead to the postmodern style of Rosemary Butcher or the visual minimalism of Michèle Noiret's Compagnie Tandem.

Dance performance projects rarely make use of live music, settling instead for a prerecorded score. Even if the music is live, it is often acoustic, generally realised with percussion or orchestral instruments. "Live electronic sound score" generally means some keyboard-playing, although there are notable exceptions: Merce Cunningham is well-known for his live use of electronic scores, and I rather like Phillip Jeck's live use of Dansette record players, as featured in projects by Marisa Zanotti's Anatomy Performance Company.

And so to synthesisers. The digital and MIDI revolutions have delivered powerful, compact instruments which are amenable to sophisticated computer control, as well as innovative performance controllers to harness this power. And yet, "synthesiser" and "electronic music" are terms which are still, in most people's minds, associated with conventional keyboard performance.

Rather than embracing the academic music culture, CASSIEL scores are generally harmonic and orchestrated. But as in the dance, imagery is everything, and our experience is that this is best achieved by timbral design and control.

There are various reasons why CASSIEL is dedicated to live performance of synthesised scores. Firstly, the UK scene has no shortage of native electronic composers who are recording albums; live performance is more unusual. Secondly, the potential for interesting interaction between dance performance and live electronic music is huge, and we wish to tap that potential. Thirdly, live performance is hard work, and provides experience and a useful discipline; the CASSIEL music rig benefits from lessons learned through various live projects.

I would highlight again that the artistic content and imagery of the performance is central; there is always a temptation with innovation (and specifically technological innovation) of emphasising style or form over content, which is artistically stifling. This is one reason why I refer to CASSIEL as a "dance company" rather than "innovative" or "hi-tech" performance company. On the other hand, excessive conservatism can be equally stifling. In the British arts scene, dance companies are run by choreographers, and the dance officials of funding bodies are unable to understand the viewpoint of a musician, sound designer and technologist who wishes to create dance work. Then again, the music people can sniffy about any kind of project which is not pure composition or performance in a classical or academic vein. It is possible to create collaborative performance art of several media without any kitchen sinks being present, but it requires vision, and vision can be threatening.

Our projects are listed here.


CASSIEL > On Dance and Performance... last modified by nick@cassiel.com at 3:34pm, Thu 10 Aug 2000