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Josephine Jewkes,
“Self-explanatory Art?...” | |||||||
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Josephine Jewkes, formerly a dancer with Rambert and an ENB Principal, writes about her new life following a hip injury...
Link to the previous column
May 99 I have had time to mull over a few things prompted by a radio interview, current affairs and an overheard remark: the radio interview was the uniquely talented mezzo Janet Baker who talked about every performance draining her of her "lifeblood" and that did strike a chord with me. Listening to her sing I have always heard the woman behind the voice rather than just a beautiful sound. Kathleen Ferrier and Maria Callas shared the same gift of pouring out the whole person through the voice, and they all go straight to my heart like an arrow. I would describe this talent as a sort of 'vocal charisma' and the dancing equivalent would definitely be Rudolf Nureyev (offstage and on), Natasha Makarova (the same) and Trinidad Sevillano (Hypnotic). I remember when Margot Fonteyn arrived at ENB to coach the revival of Ashton's 'Apparitions'. No-one knew she was coming but there was an incredible tingle of excitement as this delicate golden-haired beauty walked smilingly into the studio and we burst into spontaneous applause almost before we realised who it was. The golden hair was rather unexpected but looked like a halo and she wore white slacks and comfortable shoes. Definitely charismatic (the charisma of beauty) and she had not danced a step. The ability to 'be' onstage (be yourself and be interesting!) is a gift and cannot be taught. It does not have to be conventional beauty and seems to come from some inner life that concentrates the attention of the public upon the individual. One note of any of those singers is enough to identify them but Nureyev stole attention from his poor Giselle simply by sitting and watching her with great attention and not dancing at all!! A recent visit to the brand new Earth Centre which displays the latest ecological and organic technology made me muse on the word 'organic'. This was much bandied-about by me and some of my dance coaches but did not refer to GM Foods or lindane-free carrots. To the dance world an organic movement is one which grows naturally from the preceding one without ugly, jerky transitions. This area was something I worked particularly hard on and called on the full flexibility and control of the demi plie and the intrinsic muscles of the foot to soften landings and changes of direction. The most challenging aspect of organic movement was the use of the back, as my English ballet training was weak in this respect and I never ceased to try and improve. The ultimate in organic movement is that which springs from a musical and emotional impulse within the soul, and regardless of this or that teaching system, or academy the *real* dancers are those who have not lost this most fundamental inspiration. Tim and I are in the process of going organic in the other sense of the word, transforming stony dust and concrete in our new Garden into a deep vegetable patch. This is something I have always been keen to try but the constant touring made the sort of regular attention required impossible. If we ever finish the endless digging then we will plant sweetcorn, aubergines, peppers, peas, tomatoes, lettuce etc.... I have probably unwittingly eaten GM foods already but would rather not do so knowingly. Like nuclear power it seems to be a Pandora's box with its hasty beginning and uncontrollable end. Finally, a recent visit to Sadler's Wells took me to see my old company in 'Cruel Garden'. I have always found the piece exciting and moving on many levels and I love the unashamed theatricality of it. Lindsay Kemp's staging uses the magical power of the theatre to create a dream world of surreal exaggeration. Definitely not a kitchen sink in sight. This is what theatre can do! the theme of oppression and dispossession is depressingly relevant, but the details of the piece concern the life of poet Gabriel Garcia Lorca who distilled the essence of Spain in the 20's and was a close friend of Dali and the Surrealists (among others). The ballet draws on various of Lorca's obsessions including puppetry, Left-wing politics, Gypsy culture, Catholic guilt and confusion over his sexuality and a fixation with enacting his own death. His visit to America disillusioned him as he saw through the polished exterior to the slave economy below and he returned to Right-wing Spain only to be murdered in mysterious circumstances. When I heard someone remark to their companion afterwards "What was that all about?" I felt sorry for them as they missed a treat. (at least they stayed - I saw four or five people leave). The question is this: should a work of art always be self-explanatory? I am rather evangelical on this point, having explained the themes of the piece to various friends and even colleagues who participated in the piece without a clue what it was about. Their understanding and enjoyment was so much increased with just a few pointers that I wonder why they do not do it themselves? As a performer I believe it to be part of one's job to find out about a piece (rehearsal time is limited and not always enough to go into as much details as would be ideal), but does the audience have a responsibility? Having danced all over the world I know that the audience is not a passive lump and their participation (meaning their total concentration and imaginative empathy) helps every live performance to be livelier. The result is that everyone enjoys a better performance.
Perhaps the clueless lady in question was enjoying a mystery anniversary treat but I hope that her companion had read the programme!
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