Cold Mountain Promotional Image
Your piece Cold Mountain was originally created in your second year at Trinity Laban, how has it developed since?
The piece is completely different, the research and ideas are the same; developed onwards, but the piece itself looks completely different! We spent a lot of time at Trinity Laban working on the ideas, the working methods and on finding ways to embody the work. When we got back in the studio for resolution, we worked on getting back the language and spent time developing the concepts and qualities – but the piece itself is almost unrecognisable from before.
What have you found the most challenging about being a part of Resolution?
I think the hardest part was trying to fit everything in. I found that once I was in the studio I could relax a bit and get on with working but outside things just kept on turning. I was still working a day job, training and trying to fit in all the admin and producing in-between (as well as trying to work on other projects!). There were a few weeks where I would wake up early and put a few hours into emails, go to work for a shift and then once I was finished come straight back and pick up the emails from where I left off! I think it really pushes you in terms of time management and resourcing; you’re in it for a long time so I found it really useful to pace and plan everything so that I didn’t end up having to cram everything into one week.
What advice would you give to somebody thinking about applying for Resolution?
Go for it! It’s been a great experience and I learnt a lot from it. There’s so much that you could get from resolutions that it’s a good idea to go in knowing what you do want. There’s probably too much to do it all and get it in a good amount. The Place offer lots of support in terms of workshops and advice so pretty much anything that you could want to get from it you will probably find. It’s definitely been a good experience.
How did Trinity Laban aid your development as a choreographer? Any ‘eureka’ moments?
I think 2nd year was my ‘eureka’ year. It was an intense year for choreography and theoretical practice so I was exposed to so many new ideas. We were really given space and time to try things out; I spent a lot of time trying, failing and trying again. There was one choreography class that stands out for me; I remember it was during a heavy week of classes so I wanted to try and find a way to investigate not moving. I ended up setting up a camera to record me while I took a nap. I woke up quite suddenly in the middle of the class and starting watching it back to see if there was anything interesting in the video. I couldn’t really find anything to begin with so I started fast forwarding to see if there was anything else and suddenly I was moving all over the place. The camera had picked up all my micro movements that I hadn’t noticed when I first watched it. I think that was quite a ‘eureka’ moment for me – I hadn’t fully realised the potential for how much movement there could be in a body. I also really appreciated the community we had at Trinity Laban, I took a lot of inspiration and advice from the others training in the building. Also the one to one contact we had with our choreography tutors was great, it really allowed contemplative and fertile ground to grow and I learnt a lot from them.
What are your plans for the future with Jannick Moth and Company?
Having done resolution we now have all that we need to try and take it to a few other places. I really feel that the skeleton of the work is complete so it would be great to be able to find time to be develop and evolve some of the structures furhter. I try to be as nomadic as I can at the moment, to be able to take many different influences, and I think the rest of the dancers are in quite a similar place. We are definitely looking to do a bit more with the company. I suppose we will see where it takes us!
Image: Jannick Moth
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