-composer Seamus Cater, in reaction to the first public showing of the system in a duo version by Nathan Fuhr and Sara Wookey, Amsterdam, Maximum Clarity, November 2003
Liminal Music is the working title of a rhythmic, minimal dance improvisational game-piece score in which the circular-time pulse and design systems are preset, and the choreographic material is composed in real-time. It is a process/repetition-based work in which the articulation of a time-cycle, which flows in a cross-rhythmic relationship (explained below) to the number of performers, is gradually transformed from spoken voices to silent physical actions, and back again: time = time, medium ∆ [delta]. It is a research which finds itself in a continuous state of evolution since almost 4 years.
The construction and accumulation of the choreographic material, piece-by-piece and performer-by-performer (depending upon who finds her/himself with ideas), results in surprising, poetic, and subtly playful relationships between the performers and their non-verbal communication, in its inherent suggestivity and consequentiality. From the perspective of the observer, the circular cross-rhythmic time structure accounts for a kaleidoscopic and rather mesmerizing and ritualistic glow of physical interdependence (physical contact is encouraged) uniting the performers into a single attentive, breathing, creative, egoless organism... while all ears in the space maintain a soft memory of the pulse. "Mistakes" are generally inevitable, and always interesting and integrable. Each rendering is of course different every time, with some descriptive examples of previous outcomes being: meditative minimalism of quotidian gestures, full-contact twister action, sensuous intimacy, play/provocation/challenges (often laughter-inducing) within the ensemble, interpersonal chemistries becoming manifest and played-with, layers of cause>effect, or simply a story drawn... In any case, the rules of the game and the decision-making processes of the performers slowly become revealed to the observer with no explanation necessary, and soon the basic laws of human empathy have them engaged in the act of witnessing in an entirely fresh and unexpected way.
Though initially conceived as a duo investigation, the number of performers is flexible, as is the choice of time-cycle to be implemented, which is however interdependent upon the number of performers, in order to maintain architectural integrity of the cross-rhythm. For example, a duo could work in 3 (2 vs. 3) to create a 6 pulse cycle or 5 (2 vs. 5) to create a 10 pulse cycle, a trio could work in 4 (3 vs. 4) to create a 12 pulse cycle or 5 (3 vs. 5) to create a 15 pulse cycle, a quartet in 3 or 5, etc. (Failing structures would be a duo in any number divisible by 2, a trio in any number divisible by 3, a quartet in any number divisible by 2, and so on.) The maximum limiting factor on the time-cycle is, interestingly and visibly, the capability of the performers' memory.
There are many variations and further layers of complexity possible, with some examples being spontaneously initiated expansion or compression of a time-cycle during performance (i.e. a trio moving from 4 to 5), building up a second new (often reactive) physical sequence after the (safe :) return to speech, and/or the implementation of codes with which the performers can initiate or propose the immediate change of "set" material with new ideas-- just a single one, or one-by-one toward a gradual transformation of an entire "set" sequence into 5 (for example) new different actions. In development/consideration still, for performers who become very good at the game and want to challenge each other further or put a little sweet dirt back into the machine, are more deviant tactics via which one may instigate a distortion or subversion of one or more of the parameters of the system.
The technical requirements are one chair for each performer, who sit in a compact equilateral geometric arrangement (i.e. square, triangle) facing inwards toward each other, with the possibility to comfortably make physical contact with each of the other performers. The public is arranged around the performers in a full circle somewhat closely, and seated. A second row is permitted, but not more, and it should be on small risers to provide an arena aspect. The lighting is basic, warm and medium-low.
The duration is up to the performers.
The performance title is simply the "text" which is heard: the counting, which is done in Korean. For example, if we work in a time cycle of 5, the title will be: il ih sam sah oh. (The meaning of this text is not revealed to the audience beforehand.)
More information about Nathan Fuhr's work is available on the web at nza.zaadz.com.
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