fbpx Evaporative Body / Multiplying Body | Alan Schacher and WeiZen Ho — KCA 2022

Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their Elders past and present, and acknowledge that sovereignty was never ceded.

As Below, So Above

Joshua Pether

'As Below, So Above' (2022), Joshua Pether. Photo by Josh Wells.
‘As Below, So Above’ (2022), Joshua Pether. Photo by Josh Wells.

We stand at the interface of a new beginning; four connected through histories past and futures. But we begin at the end and arrive at the beginning, with one eye to the sky and one ear to the ground. “The Call to Prayer” pulls us deep into the depth of the earth, histories and lineages vibrate and shimmer as they rise to take their place in “Gods” clouds. We arrive at a junction between the thresholds of light and dark—four connected in the shape of the cross. As Below, So Above is a 20 minute ritual for personal deliverance and atonement, and a choreographic investigation into the concepts of reversal and inversion. Ritual after ritual As Below, So Above repetitively allows the performer to enter into a space that seeks familiarity whilst asking to uncover the hidden spaces that exist in the known.

Performer and Choreographer: Joshua Pether
Performer: Daisy Sanders
Performer: Josten Myburgh
Performer: Sage Pbbbt
Costume Design: Helah Milroy

Book View Program

Read more about the 2022 Keir Choreographic Award

Read interview with Ainslie Templeton for Performance Review

Book a KCA Half Pass [Week 2] to see just 4 of the 8 KCA works (30 June—2 July) including:

Slip — Rebecca Jensen
Exoticism — Lucky Lartey
As Below, So Above — Joshua Pether
Follies of God — Raghav Handa

Joshua Pether is of Kalkadoon heritage but lives and works on Noongar country in Western Australia. He is an experimental performance artist, dancer and choreographer of movement, temporary ritual and imagined realities. His practice is influenced by his two cultural histories- indigeneity and disability and the hybridization of the two with particular interest in the aesthetics of the disabled body and also that of the colonised body. As a ritual practitioner he is interested in the hidden knowledge the body has that can unlock the past history of the self and all its manifestations.

The Keir Choreographic Award is a partnership between Dancehouse, The Keir Foundation and the Australia Council for the Arts, with presenting partner Carriageworks.

This project has been supported by Strut Dance and Old Customs House in Fremantle. We would like to thank the guidance and contribution of Humphrey Bower and Rachel Ogle as both witness and outside eye and Helah Milroy for costume design.

What will the space be used for?

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