A physical and public declaration of what it means to resist.
As women of colours and mothers, Justine A. Chambers (Vancouver) and Laurie Young (Berlin) take to the stage to explore a wide range of small gestures linked to resistance. In the wake of the Black Lives Matter movements, they shift away from discourse so as to create a reversal of values within the territory of the body. Living a continent apart, the two artists share a fascination for the political, social and physical ramifications of gestures.
From a simple shift of focus to the iconic “Hands up, don’t shoot” movement, the two women take over the stage to portray infinite gestures as powerful refusals to submit. They construct in real time their own physical archive of resistance.
Theatre also represents a system, which they reduce here to its simplest expression – a bare bones set design, its pulsating rhythms and lighting supporting the dancers. They are the mainstay, the focus. They assume a central role, a position long overdue.
One hundred more was inspired by the Erin Manning essay The Minor Gesture. It is an inquiry into the politics of movement and how “minor gestures” challenge received wisdom and common sense (the “major”) by offering experiential variations that transform human relations and suggest alternative forms of being, knowing and doing.