These conversations with Iris opened my eyes to the fact that, even within the constraints of an office based performance, there were seemingly endless ways of taking the project forward.
Would the performance be with or without sound? Would it just be a one-person performance? How would the performance take shape? What would the narrative be?
We exchanged a fair few emails over the following weeks, and what became evident was that there needed to be a purpose for the movements in the performance, whether they be real or constructed: I had blithely thought we could just reconstruct the movements into a dance: Iris, knowingly, needed a reason or rational- It needed to feel right.
This was, a confusing aspect for me. As an uneducated observer, I hadn’t until this point thought about how dances come into being. I had seen dance as something which was/is essentially judged on its ability to entertain: I had never given much thought to a dance’s methodologies, thinking and concept. I am aware this must sound vastly philistine-esque, but feel it necessary to confess. I really should know better; I am often plagued by the knowledge that most people see jewellery as a purely ‘decorative’ ‘craft’.
