From the dark recesses of the mind the beast within hovers between the real and the imaginary. Suspended between reality and the ephemeral, the body undergoes a transformation creating ‘the other’, The Monster.
Combining dance and live art, Joshua Pether, independent choreographer and dancer based in Western Australia, conjures a deeply personal exorcism to distil and embody this moment of transformation and release.
Of Kalkadoon heritage, Pether also identifies as having a disability. His work is a reflection of his body politics and heritage, both cultural and spiritual. Monster is his second solo work. The two intertwining cultures of Indigeneity and disability help to shape his practice. In MONSTER, Pether explores what it is to be monstrous and how the disabled body can communicate this
Llaeth (Milk) is an exploration of the relationship the male body once had with that of the Mother’s body. Why is breastfeeding seen as a taboo in some sections of our society? Why is the Mother revered but yet equally repressed when it comes to women in the workplace?
Psychoanalytic theory tells us that prior to our acceptance of language and society we were at one with our Mother’s female body, living without judgement and repression. When we become aware of our own identity and the rules that construct it, the Mother and her body is rejected in order to find our own sense of self.
Much associated with the feminine body becomes abject and taboo. It disturbs, disrupts and transgresses the boundaries of order but can truth be found in the body/energy of the Mother? The Mother we have rejected in order to be our selves.
MASANHU KONGONYA (weaving of the hatchets)
An examination of the societal tendency to shift blame – was inspired by the Universal Declaration of Human Rights Article 3, ‘Everyone has the right to life, liberty and security of person’.
Originally created in Zimbabwe it explores the results of ongoing unrest, trauma and quiet desperation imprinted on those who live in politically unstable environments in Africa. It was created as a response to the Zimbabwe land reform (grab) in 2000, which left the country divided according to skin colour, tribe and political affiliation.
Masanhu Kongonya (weaving of the hatchets) explores what happens when we don’t know how to respond to something unusual or beyond our understanding – the ‘other’? A world where the questions of race, religion, culture and cohabiting remain.
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