Material she developed during her residency at BAC was shown at the end of March. A trio for three women with the working title "Sister to a Fiend,” this piece is overtly ritualistic. Two matching cups are repeatedly held aloft as if in offering, or a means of channeling, and they are also hurled to the ground, as if in anger or pain. Spiritual symbolism abounds, but the body is central to the proceeding. There is molestation. Energetic transfer. And what Kim refers to as “the table top human body, and they are taking what they need.” All three women appear to be in trance states, but not all the same kind—some are supplicant, some ecstatic, another desperate. Ultimately, through repeated and varied interactions, the three connect through a physical mutual dependence.
Before the showing, Kim answered a few questions about her work and process.
BMcC: For those who may not be familiar with you or your work, how would you describe what you do?
Dance is so weird. Really, truly strange. On some level I find it completely vulgar that anyone would put people on a stage just to watch them move around. Really? WHY? It can be so presentational, so precious with itself, and I find that repulsive as an aesthetic value. But, I think that's fundamentally why I'm driven to make dances, and why I remain curious--I'm trying to better understand the form myself, and I'm convinced that there's so much more to it. Historically speaking, dance is still in an incredibly incipient stage. Now we're in somewhat of a thaw after the fixation on and tyranny of beauty. For lack of a better word, my work is experimental. I'm interested in what's beyond beauty and how dance can be the platform to express a wild range of truth and experience. Fundamentally, I am an outsider working in an outsider's form, playing at the edges and seeing what that yields--I'm involved in a personal game of brinkmanship. Everything I know about making dances came from making dances. Yes, I am a dancer, but I discovered dancing and choreographing almost simultaneously back in my late teens. My love of composition (choreography) is separate from my love of dancing.
I do subvert the form a lot. There are red herrings in my work--some people are often unable to see past them. I'll use overexposed pop music, have people move like zombies, act like stroke victims, but I'm not being contrarian for the sake of being contrarian--all of these elements were necessary content or counterpoints to the tone I wanted to create. Part of the challenge and interest for me is to deliver the content functionally and rigorously, no matter what it is.
I've always taken heart in what David Lynch said about making "Blue Velvet: "it started with red lips, a white picket fence, and a severed ear.” That's all he knew, and that was enough. I feel the same about every dance I've ever made. I might know one or two things about it, but really, I have to take a leap of faith and make it to understand it.
This latest work springs from a work I made in 2007 called "Cult." A lot of "Cult" was built through improvised "incantations." I've brought back this score and have used it to start a lot of my rehearsals. It allows the performers to drop in to the right tone of this work, they literally thicken the air around them (I can feel it), while they simultaneously practice being seen. The thrust of this work is about the strange relationships between women, especially powerful women. They're not quite human, but they are definitely female, and they have secret rites, which I expose through the dance. The ultimate experience of this work is getting to see this.
BMcC: This new work combines symbolically loaded gestures, with some radical sensuality and a healthy dose of subversion. What art, ideas, rituals, imagery, etc are you drawing from for the construction/performance of this work?
SK: I wanted to extend everyone's arms and I also wanted to work with objects that had potency, potential talismans, so I brought in a set of vintage '70s cocktail cups. They're clear for the most part with a little bit of red and yellow, and they're also an unusual rectilinear shape with a curve thrown in. They've been very generative as objects to respond to--to give energy to, and to get energy from--they've served as a direct line of transmission to forces greater than ourselves.
I started this work, in the studio, during a residency I had at MacDowell back in the fall. There I danced with real, glass stemless wineglasses. I wasn't afraid of getting cut, but I did shatter one...so for practical reasons I'm still working with the plastic cups for the group, but we'll see. Glass has more power than plastic.
Films are always very important to me as inspiration, and I think there's something intrinsically filmic about my work. A LOT of my favorite films are about weird relationships between women: "3 Women," "The Bitter Tears of Petra von Kant," Breillat's "Bluebeard," "Mulholland Drive," etc. I've told the performers to have a gander at these films.
BMcC: How has the residency at BAC influenced your capacity to explore your artistic process?
SK: By providing a real choreographic home for 3 weeks, for providing 5 hours of rehearsal time every day without financial constraint. It allowed me to breathe easier, relax into the process. By the end of it, a 5-hour rehearsal really seemed the norm, not an infinite period of time. To inhabit this psychic framework of "yeah, this is my job--this is really how I spend my day," was incredibly liberating. The content just seemed to tumble out fast while in this state of mind. The studio I was in was also incredibly beautiful--light-filled with a dramatic view of the cityscape. This all helped set a mood, and I felt deeply supported by the city itself.
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