The Moving Forward Residency has given me time and space to further develop an existing solo work titled UpAndUpAndUpAndUpAndUp. This solo was originally presented at Temperance Hall in 2022, and I will be touring this new edition of the solo to Montreal and showcasing it as part of the ‘CINARS Biennale’, supported and mentored by Jose Navas at Compagnie Flak.
UpAndUpAndUpAndUpAndUp is like a queer dream that exists within a never ending spiral of ascension. It’s a work of feverish flurry, of rush and abandonment, of flight and surrender. It seeks to encapsulate the magic of accidental encounters; of staying true to the purity of the surrendering body and mind to capture the essence of the dance without interference or pretence. The transient movements create a sense of ongoing improvisation and negotiation with itself. Even after countless repetitions, I continually uncover newness. It feels as though I am engaging in a perpetual dialogue with myself, seeking the ephemeral aspects of my ethereal existence. The work happens in three parts; a queer birthing, flying and falling through a queer daydream, and a queer sensual afterlife.
At first, re-entering this solo was very challenging, I didn’t know how to push forward with it. The work was born out of such a specific time; in-between lockdowns and during a time of self-enquiry into my own identity and queerness. Due to the nature of how and when the work was originally created, it was challenging to tap back into that same energetic choreographic place. However, I felt optimistic that I knew something fruitful would come out of the LGI residency if I gave myself time to sit with these challenges, rather than force unwarranted decision making.
After a few attempts and days of not really getting anywhere, I tried a new tactic which involved doing the work everyday as the practice to conjure similar sensations and creativity that I felt during the work’s initial process. From this place, I tried hard to let go and allow my gut and intuition to lead the work. The process then started to unfold naturally, and new elements started to piece together in a much more seamless and interesting way, rather than trying to add on new ‘sections’ out of thin air. The challenge for me in this work is in how to keep it alive - as if the entire work could be improvised, when in fact it is actually entirely set. This is an element that fascinates me in all of my work.
Through this development, and looking back on my other works and processes, I have come to realise that my practice is very conversational; conversational with myself, my collaborators, my context, and my subconscious. I celebrate individuality and ‘otherness’ rather than attempting to fit everything into a square box or come into rehearsals with a hyper specific focus in mind. I try to catch myself in a daydream, and then attempt to string together these seemingly mismatched thoughts. The work feels like poetry unfolding; I can sit back and allow the work to wash over me like a magician casting magic spells; no one knows how or why something’s happening, but there is complete trust and faith in the process.
I felt incredibly fortunate to be able to continue to work with ongoing collaborators Robert Downie (sound) and Andrew Treloar (costume/set-design). They both come with a wealth of knowledge that helped me unpack the work. They also designed incredibly mesmerising elements that were masterfully woven into the work.
By the end of the development, I felt proud of the work we had made together. It felt true to its original, but it also felt like I had matured as an artist and was able to take the work into new territory. I am beyond excited (and nervous) to tour this work to Montreal and receive feedback from international artists and audiences alike.
Ben Hurley is a LGI Moving Forward Resident at WXYZ Studios in January 2025.