June 1 to June 5 | 10:00 a.m. to 13:30 p.m.
Rate: DAC members - $165 | Visiting professionals - $188 | EB - $212 | Standard - $235
*This workshop is reimbursable (40% of the total cost) through the RQD Dancer Training Support Program for admissible RQD members.
Please note that the video and photographic materials are for insight into Clara Furey's previous works and do not demonstrate what will be explored in this workshop.
During her workshop Clara Furey will explore the perceptible and sensorial dimension of the states constituted by our psyche. She will embody existential questionings by orchestrating a meeting between resistance and resilience in the participants. Through a sensitive corporal writing, she deepens their sensorial listening abilities by working around ritualised gestures as well as the constant transformation of energy.
In Cosmic Love, her latest group piece, the choreographer was questioning the sidereal void and all the links and dynamisms with which it is charged. Drawing inspiration from this thematic, Clara Furey proposes a dance of kinesiology, of body radiance; a dance of matter and the absence of matter opening the communication around all that is existing, here already, in a transitional state. Space has an impressive weight ready to be experienced.
Considering art as a way to link entities between them around a spirituality free of dogma, Clara Furey aims through this workshop to create links between mediums, beings and senses. In a society where images and virtual communications take over and where a fanatic individualism prevails, she invites the participants to open their perceptions to empathy and the listening of others, in a participatory and benevolent pedagogical context.
Questioning the acceptance of our human condition, the universality of the emotional world, the sensitive and tangible resonance of physical phenomena, she succeeds in revealing the glow that emanates from our deep contradictions by creating a tension between technique and sensitivity.
Initially trained in music, as a child, at the Conservatory of Paris, I began my artistic career through song and composition. After moving to Montréal, and studying and completing the program at the École de danse contemporaine de Montréal, I danced for choreographers such as George Stamos, Damien Jalet, and Benoit Lachambre. Having now become a choreographer, starting with collaborations and now signing the pieces on my own, I’m most interested in exploring the codes that travel in and across various art forms.
I am in a constant dialogue with the other mediums that constitute the work I am making now, and this excites me. This was the case, for example, with my dance When Even The beside one of Marc Quinn’s imposing lead sculptures, the aptly named Coaxial Plank Density where I sought to question the existential void in a ritual dance which examined the porosity between life and death.
My practice in movement gives equal consideration to both space and sound, with the goal of encouraging the awakening of the sensorial perceptions of the audience, giving them emotive immediacy, direct access.
I’m guided by the belief that beauty might appear after a long arduous process. Not beauty that appears out of nowhere, but beauty that is already there, under the layers.
I often work in minimalist set-ups that can foster intimate atmospheres and invite us to take a contemplative posture. I want to leave room for the creative mind of the spectator. Sometimes a deep feeling of emptiness arises in my work or rather an investigation around the concept of emptiness and all the links and dynamics that it is filled with. The void becomes a conveyor of possibilities and allows all form of communication to coexist.
Ultimately – in between the lines of space and sound, I create pieces that are at once literal and abstract in which audiences can assemble their own elements, understand what they need to understand as they see fit. It is in abstract dense poetic fragments and their ability to compress story that I often find inspiration to begin a new work. Moving through improvisations and a constant reconsideration of the most basic gestures, my performances often employ duration and repetition of ritualised movements. I take great care not to take this for granted. Because these movements always come loaded with a constantly changing mix of both meaning and non-meaning.
I’m interested in what you could call “existential dance experiments” where I can explore states of being, where we can explore mystical interior landscapes and attempt to locate radiance within the enveloping darkness.
My work is porous now – porous in the choreographic offerings I propose, porous in what the performers exude, a porosity I hope can be seen and felt in the energetic exchange between us all.
Website : www.clarafurey.com