Traditional Greek folk songs have not survived change through the generations as they were
communicated through word of mouth; they had however exceeded any hierarchical system and were recited by all classes. Much like the multiplication and repetition of our contemporary thoughts, our identities are easily distorted but celebrated by new and sometimes stereotypical standards. Intermedius, uses a space that spectators may pass and become involved with in various degrees. The song that I perform ‘Andromeda’ uses traditional folk concepts from northern Greece but comes from a current artist. My choreography is based on the folk dance from Epirus, situated on the border between Greece and Albania. The steps are slow, some like crawling or rocking which is based on the different levels of ground on that particular terrain. The outcome of the artwork is a hybrid because of the way in which space; time, performance and materiality are all in active play so that an element of surprise might occur. The installation could also be described as a stoppage in that it has no continuous reality. It is the meeting point of conflicted psychological economies. In a way, there is a playing out of repressions, desires, moods, images, impulses through which an audience might pass through. Much like the journey, impulses and element of surprise.
communicated through word of mouth; they had however exceeded any hierarchical system and were recited by all classes. Much like the multiplication and repetition of our contemporary thoughts, our identities are easily distorted but celebrated by new and sometimes stereotypical standards. Intermedius, uses a space that spectators may pass and become involved with in various degrees. The song that I perform ‘Andromeda’ uses traditional folk concepts from northern Greece but comes from a current artist. My choreography is based on the folk dance from Epirus, situated on the border between Greece and Albania. The steps are slow, some like crawling or rocking which is based on the different levels of ground on that particular terrain. The outcome of the artwork is a hybrid because of the way in which space; time, performance and materiality are all in active play so that an element of surprise might occur. The installation could also be described as a stoppage in that it has no continuous reality. It is the meeting point of conflicted psychological economies. In a way, there is a playing out of repressions, desires, moods, images, impulses through which an audience might pass through. Much like the journey, impulses and element of surprise.
The use of plague masks within my performance not only corresponds with the hood of the falcon and it’s beak, it examines a fragment of history on this island, of death and tradition and blood sport of the ‘other’. I have photographed fish skins that I screen printed on my costumes, designed a transparent backgammon set in which identical performers gamble against themselves. Backgammon is also one of the oldest games discovered it is dependent on both skill and luck. I have also built a swing that represents the female reproductive system made of plexiglass and metal. “Aιώρηση” was used in ancient Greece as a therapy to cure trauma. The performers during the performance repeat postures and movements of my healing process.
