About Jenni’s Residency
This LGI Residency marks the second development of White Woman, a solo contemporary dance work choreographed and performed by Jenni.
Here’s what she said of the project on the eve of the residency:
“White Woman explores the broadly held dichotomy of women as inferior and white as superior - the relevant duality that I am and experience. These dualities are extrapolated through the choreography between form (dancing, action, the body) and context (environment, sound, costume) to highlight obscure juxtapositions between empowerment/objectification and superiority/oppression.
I am fortunate enough to be collaborating with the ingenious Alisdair Macindoe as sound designer, who will be joining me in the studio throughout my LGI Residency, and my marvellous mentors are Frankie Snowden and Daniel Riley.
I am imagining a dirty deep contemporary dance cabaret, where audience interaction encourages a casual playfulness that eventually gives way to a confronting and confusing performance.
How can I obscure viewers’ perception of me/my body? Can I obscure my own perception of my identity?
The dancing is both abstract and representational… Contrast highlights subtle differences and unexpected similarities…
By intertwining the development of my political voice and choreographic practice I hope to increase awareness surrounding privilege, further destabilising our prejudices and contributing to a more equal and harmonious society.“
Image: Amber Haines
Process notes
Lyrics from ‘The Original Sin’ by INXS released in 1984
You might know of the original sin
And you might know how to play with fire
But did you know of the murder committed
In the name of love yeah, you thought what a pity
Dream on white boy
Dream on black girl
Then wake up to a brand new day
To find your dreams are washed away
There was a time when I did not care
And there was a time when the facts did stand
There is a dream and held by me
Well I’m sure you had to see it’s up in arms
Excerpt from Sojourner Truth’s famous speech Ar’n’t I A Woman?
Sojourner Truth (born 1797–1883) was arguably the most famous of the 19th century’s black women public speakers. She was born into slavery in New York and freed in 1827. She dedicated her life to abolition and the struggle for equal rights for women and men. Scholars agree that Ar’n’t I a Woman? was given at the Women’s Rights Convention in Akron, Ohio, on May 29, 1851.
“…But what’s all this here talking about?
That man over there says women need to be helped into carriages, and lifted over ditches, and to have the best place everywhere. Nobody ever helps me into carriages, or over mud-puddles, or gives me any best place! And ar’n’t I a woman? Look at me! Look at my arm! I have ploughed, and planted, and gathered into barns, and no man could head me! And ar’n’t I woman? I could work as much and eat as much as a man—when I could get it—and bear the lash as well! And ar’n’t I a woman? I have borne 13 children, and seen them most all sold off to slavery, and when I cried out with my mother’s grief, none but Jesus heard me!
And ar’n’t I a woman?…”
“How are we to succeed in making hope practical rather than despair convincing?”
- Raymond Wiliams
About Jenni Large
Jenni is a dancer, teacher, assistant rehearsal director and emerging choreographer.
She trained at the Western Australian Academy of Performing Arts graduating in 2010 receiving the Hawaiian Award for most outstanding graduate. During her studies she completed the international exchange program at the Taipei National University of the Arts and performed at the World Dance Alliance (NYC).
As an independent artist, Jenni has developed, performed and toured works by Aimee Smith (Wintering 2012, Borderline 2014), Sue Peacock (Reflect 2013), Isabella Stone (Mouseprint 2015), Leigh Warren and Dancers (Phillip Glass Trilogy 2014). From 2012-2013 Jenni was a member of Tasdance under artistic director Annie Greig, performing and touring works by Anton, Francis Rings, Larissa McGowan, Anna Smith, Marnie Palomares, Byron Perry and Tanja Liedkte.
In 2015 Jenni joined Dancenorth under the newly appointed Kyle Page and Amber Haines. Performance highlights include touring nationally and internationally works by Alisdair Macindoe (A Pre Emptive Requiem for Mother Nature), Ross McCormack and Stephanie Lake (If…Was…), Lee Serle (The Three Dancers), Lucy Guerin and Gideon Obarzanek (Attractor), Kyle Page and Amber Haines (Rainbow Vomit, Spectra, Dust). In 2017 Jenni also undertook the role as Assistant Rehearsal Director.
As an emerging choreographer Jenni has created a few short works; The Ultimate Human Seduction with The Dance Makers Collective (2013), The Untitled Lion Project with Jack Ziesing (2015), Baby Heaven Love Voice for Dancenorth’s Tomorrow Makers (2017) and has more recently been developing a solo work White Woman.
Find Jenni on Instagram: @jenlarge
About LGI Residencies
LGI Residencies offer artists the freedom to explore new ideas, develop new works and cultivate their choreographic practice. Studio space and administrative support are offered by LGI, as well as the opportunity to share outcomes of the residency in a way that best supports the artist in residence.
Out of Time residencies take place during evenings and weekends. This format offers choreographers more flexibility in their schedule as well as optimising the use of these stunning studio spaces.
For more information on LGI’s residency program and the other 2019 Artists-in-Residence, please visit the Residency tab on our Programs page. Each will also have a blog post, offering an insight into their projects as they progress - find these on our About page under News.
Get updates on all LGI’s artists-in-residence in your inbox monthly by signing up for the LGI enews, or keep an eye on LGI’s Facebook and Instagram.
Lead image: Amber Haines