VOW(d): CRATE WOMEN
by Catherine Magill
— Visible Older Women (dancing).
Many older women experience a sense of invisibility. Some relish this anonymity, while others feel ignored and devalued. Armed with their humble milk crate pedestals, these women take a VOW – to be a Visible Older Woman (dancing).
VOW(d) brings together nine powerful women from the Performance Improvisation community, to interrogate older women’s experience in the civic realm, the seen and unseen.
Playful and poignant, personal and political, VOW(d) celebrates older women, acknowledging the achievements of great women, and every day, ordinary ‘crate women’, while highlighting the underrepresentation and misrepresentation of all women in an ageist and patriarchal society.
Disguised as herself, she moves through the world, from silent to vocal, invisible to visible. From her trusty crate pedestal, embodying statues of herself, she sees and is seen. From her elevated position she has a clear view. Confident, insightful, ranting, despondent, cheeky, she openly shares her views. Leaving her pedestal, she takes up space – she is singing in the rain, dancing in the streets, claiming space for women who have passed their use by date.
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Concept and Direction: Catherine Magill
Choreography: Created in collaboration with performers
Performers: Amanda Owen, Catherine Magill, Debra Batton, Edwina Entwistle, Hilde Knottenbelt, Lindy Ferguson, Lynne Santos, Rosie Fayman, Suzanne Hurley
Lighting: Catherine Magill
Lighting Operators: Shelley O’Meara
Costume Concept: Catherine Magill
Video/photo stills: Mischa Baka
Catherine Magill has over thirty years performance experience. In 2022 she was a participating artist in the Creative Hobson Bay Dear Agnes project (Altona, Melbourne) presenting an environmental dance installation. VOW (Visible Older Woman) The Pedestal Project was launched at Testing Grounds Public Art Park program 2023 (Melbourne) and was presented again for International Women’s Day 2024. Catherine holds a Bachelor of Arts (Dance) and has recently completed her Master of Arts: Art in Public Space (RMIT).
Amanda Owen went to drama school in London where she was born. She toured with various physical theatre, mask and circus theatre companies around Europe, Brazil and Australia. She performed her one woman show ‘Body – Celebration of the Machine’ at La Mama and the Sydney Opera House. Amanda is a full-time yoga therapist and plays bass and sax around Melbourne in trio the Honeybees.
Debra Iris Batton is, and has been a performer, director, Artistic Director, teacher, mentor, producer, and consultant in physical theatre, circus and improvised performance. With Catherine Magill she established Such n Such producing long form improvisations, presenting at various events including the Melbourne International Comedy Festival and Fringe Festival. She is a co-founder, co-director and performer with A Good Catch Circus, and a Flying Trapeze artist, clown and acrobat with Circus Oz. Debra holds a Master of Arts: Art in Public Space (RMIT).
Edwina Entwistle has worked in theatre for decades. Cabaret, street theatre, in house, puppetry are forms she has explored, touring nationally and internationally with various theatre companies. Her current passion is performance improvisation, which she practices relentlessly.
Hilde Knottenbelt tbc
Lynne Santos has been working with performance improvisation for 35 years. She has investigated it in a number of contexts including Body Weather and Butoh. Lynne now explores it in the setting of trance work.
Lindy Ferguson has worked in dance theatre, music and improvisation since 1981, performing in festivals and venues with groups including Footfall Theatre, DanceOnTheStreets, Mohair Stockings, Monkeybased Movement Theatre, The Clammy Sisters (Last Laugh Comedy Festival). She choreographed, performed, was filmmaker and sound artist for Avalanche, )2003 and 2005). Lindy currently has a performance improvisation practice with various artist including In The Moment and VIS-A-VIS trio.
Rosie Fayman was inspired to dance in the 1970s by a single creative movement class at ‘Mangala Studios’ in Carlton. Early 1980’s Rosie trained to teach the Alexander Technique in London, an intensive 3 year training that cultivates a refined inner body consciousness. In the 1980s, Rosie joined Al Wunder’s classes, which she participated in for decades. Since then, Rosie has consistently been a part of Melbourne’s performance improvisation community, performing solo, duet and group work.
Suzanne Hurley has a fascination with not knowing. After initially working through dance in its choreographic form she found her way to improvisation with Al Wunder’s Theatre of the Ordinary. Being an improviser has helped Suzanne with her other life endeavours in parenting & counselling which asks of her to stay present to what is unfolding rather than making assumptions that cannot yet be known. She works mainly with women when grieving reproductive losses through a feminist lens.
Mischa Baka holds a Masters by Research degree from the University of Melbourne. His practice-led research incorporates dance, linguistics and screen writing. Mischa holds Undergraduate and Honor degrees from the Victorian College of the Arts film school. His graduating film Last Beautiful Friend (2009) was awarded Most Daring and Innovative Production, Best Achievement in Editing and Best Achievement in Sound. The film was nominated for an Australian Directors Guild Award in 2010. Mischa was an editor of Tau Seru, which premiered at Cannes Critics Week, and was winner of Best Australian Short Film at the 2013 Melbourne International Short Film Festival.