Merce Cunningham Dance Co (with Sigur Ros): Program B, Melbourne International Arts Festival, 27th Oct 2007

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It seemed as if an unofficial John Cage mini-festival took place within the larger Festival. The electronic ticker-tape on the side of Fed Square was broadcasting quotes and epigrams from Cage for the duration of the Festival, and there were numerous events and exhibitions taking place with Cage themes. So it seemed entirely fitting that the first half of this performance of works choreographed by the World’s Greatest Living Choreographer, Views on Stage, featured two typically abstract John Cage scores – ‘ASLSP’ and ‘Music for Two’.

This kind of music does not have recognisable rhythms – indeed there was no discernible underlying pulse either. So how did the dancers move? What prompted the change from one step to another? The answer is beyond my ken, but it was fascinating to watch the musicians playing and the dancers moving, and trying to work out the connection between the two. It quickly became clear that the way to enjoy this performance was not to worry about such details, but to just try and understand the piece as a gestalt. And the first half was enjoyable enough, albeit in a rather dry and academic fashion. But at the interval it became clear from the general chatter and hubbub in the State Theatre that a large part of the audience were here for Split Sides, the second half ballet featuring music from Radiohead and Sigur Ros.

Before the second half began, Merce Cunningham himself, accompanied by the Festival Director and a few others, came out to the front of the stage and explained that they were going to roll a die to determine the order of certain key factors in Split Sides – such as the order of the music, the set design, lighting, costumes etc. After the die had been cast the requisite number of times, it was determined that the Radiohead music would be heard first. Needless to say, this music was pre-recorded – and that was fine, given that this was Radiohead in their most electronic form – think ‘Meeting in the Aisle’.

The dancers moved in time to the music (hey – I can understand this bit!) and the Radiohead sounds at times ricocheted around the hall, making full use of the venue’s multi-channel sound system. The combination of dance moves, backdrops and electronic sounds hinted at themes of depersonalisation and dehumanisation in the modern world.

And finally – the part everyone had been waiting for. The second half of Split Sides began. But where were Sigur Ros? Certainly not on stage (where I had expected to see them.) But then, some figures in shadow were visible standing down at the front of the stalls. They held instruments of various types (in the darkness it was difficult to see what exactly), and watched the stage as they played. This was Sigur Ros, in a firmly abstract mode. One band member appeared to be holding a tray, filled with sand and stones, which was miked up, and used as a percussion instrument. The combination of Sigur Ros’ eldritch music, the dancers, the set, the lighting, made for a beautiful and unforgettable experience. It all seemed to end to soon. Needless to say, there was a standing ovation at the finish.

Ewan Burke

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  1. The electronic ticker-tape on the side of Fed Square was broadcasting quotes and epigrams from Cage for the duration of the Festival, and there were numerous events and exhibitions taking place with Cage themes. So it seemed entirely fitting that the first half of this performance of works choreographed by the World’ Greatest Living Choreographer. Thanks!