A Sun Dance

A Sun Dance is the title of this work. The phrase is also a direct quote from architect Col Madigan’s archive papers about his observation of light ‘dancing’ through the National Gallery of Australia, where the work was conceived. The full quote is “… a moving graphic backdrop. A Sun Dance”. Papers of Col Madigan, National Gallery of Australia Research Library’s Archive Collection, MS 128 Box 10, Folder 1--A sun dance [previously Addition - Box 5 Folder 1, before the development and presentation of A Sun Dance performance]

 

Angular Phrase

A standing phrase that rotates 360 degrees on a fixed spot. The profile of the dancer’s body and limbs is mainly angular, which can be visibly distinguished from a distance. The rotation of the phrase supports the 360 degree sightlines of the dancer.

 

Angular / Orbital Switch

Two of the set phrases, the 'angular' and the 'orbital' phrases are used within the 'circuit game.' The angular profile of the dancer's body and limbs in the angular phrase, and the curved profile of the dancer's body and limbs in the 'orbital' phrase are easily distinguished from each other even over long distances. The visual contrast between the two is important as a signal of the switch between connection and release within the game.

 

Canon

Choreographic form that reflects the musical form of the same name, in which individuals and groups perform the same movement/phrase beginning at different times. The canon in A Sun Dance takes forms from the architectural surroundings as motifs for body shapes and movement.

 

Choreography

A term that encompasses several layers in A Sun Dance, including choreographic material (set phrases & open practices) performed by dancers, the choreography of the Earth’s movement in relation to the sun, spatio-temporal compositional framing of Haley’s painting with sunlight, the overarching choreographic composition of the work.

 

Cornering

An open practice with crossed arms in contact with corners of the architecture. The arms ‘slot in’ to the building, and then they replicate the shape of the corner in open space as they move away from the walls, as though carrying the form in their body. The dancer may then place their imaginary carried corner into/onto another corner of the building.

 

Extending the Line

A group practice that produces relatively flat linear extensions of the body that link together to make a line through space. Dancers connect to each other sequentially and choose which line to extend from the previous dancer.

 

Morning Cycle

The first section of the performance, after the ‘Rise’ that enters the building. The Morning Cycle begins approximately around the opening time of the museum, and runs until approx. 10–15mins before the beginning of the Midday Cycle. For example, at the National Gallery of Australia the Morning Cycle was 10am–11.45am

 

Open Practices

There are multiple open practices which are improvisational within certain parameters, in relation to flexible elements like sunlight and adaptable to different architectural designs. The open practices are detailed in videos in 2 – Choreography.

 

Orbital Phrase

A standing phrase that rotates 360 degrees on a fixed spot. The profile of the dancer’s body and limbs is mainly curved and circular, which can be visibly distinguished from a distance. The rotation of the phrase supports the 360 degree sightlines of the dancer.

 

Orbiting

A fluid and organic open practice that finds motion in orbit around a centre. Orbiting may be practiced individually or collectively, and may be used within a game structure like the Hide and Seek game.

 

Prisming

 

Rise

A term to refer to the very beginning of the performance, which is an entrance to the building. The Rise comprises of one or more dancers walking towards and into the building followed by an audience. Other dancers and the musician may also be performing inside the building visible and audible through windows and balconies. The Rise may also be extended in duration and embellished by an open practice, like trimming for example, if the architecture lends itself to this.

 

Seed Dancer

Dancer/s who have performed in previous presentations of A Sun Dance. As a performance preservation measure, it is suggested that casting for each presentation of the performance should include at least one Seed Dancer to support body to body transmission of the work, alongside the Performance Manual. The pool of Seed Dancers grows with each presentation over generations. The use of the term seed dancer is inspired by Lee Mingwei’s use of the term in casting for Our Labyrinth, 2015-ongoing, acquired by Tate in 2021.

 

Set

A term to refer to the ending of the performance, which is an exit from the building. At a minimum the ensemble of dancers walks in a line out and away from the building, followed by the audience if appropriate. The Set may also be extended in duration embellished by an open practice, like trimming for example, if the architecture lends itself to this.

 

Set Phrases

There are four set choreographic phrases used in the work, which are constant and repeated in various arrangements. These include the Angular phrase, Orbital phrase (used within the Circuit Game), Seated Solo phrase, and Seated Constellation phrase. Set phrases are detailed in videos in 2 – Choreography.

 

Shadow Play

 

Specialist Installer

Person/s engaged by the museum, when the artist is not available, who are a choreographer / dance professional and a musician to remap/install/translate/harmonise the work to different scenarios, supported by the guidelines outlined in 5 – Installation of the Performance Manual.

 

Stretching the Sun

 

Sunning

A mostly floor based open practice, working with the sensation of direct sunlight on the body of the dancer under a skylight or window. The dancer’s movement is luxurious and languorous, and their focus is inward towards their body. The shadows formed by their body and the window or skylight framing provide opportunities to occasionally dip into a practice called

 

Tessellating

A group practice that travels across space in a linking formation. The formation resembles a herringbone pattern and can be performed by linking legs, knees, angles and feet bent at right angles, or star shaped figures lying down, or arms crossed at the elbows, or hands in various arrangements. Dancers next in line in the chain may change body part, direction or posture (standing, sitting, lying, crawling) by offering a new shape, as they connect with the previous dancer. This may be informed by the architectural formations around them, for example tessellating down a tight stairwell might require standing and using arms, or to change the pace of travel, for example tessellating with fingers moves slowly and intricately across space, but open star shapes standing moves across distances quickly. The overall collection of tessellating practices traveling across space can be referred to as a Tessellating Snake.

 

Trimming

A linear practice that traces the edge or line of the architecture with a hand or arm, sometimes in contact with the building. For example, walking up a staircase with a straight arm extended back from the body and fingertips in light contact with the handrail or edge of a balcony. The arm may also extend this line into space.

 

Unning

An open practice opposite to the primary practice of Sunning. Unning may be performed directly after Sunning in a shaded area of the gallery, or if there is no direct sunlight, where the dancer is working with the sensation of radiating or releasing absorbed warmth of the sunlight back into the shaded gallery.