A RESOURCE PACK FOR TEACHERS, STUDENTS AND ANYONE INTERESTED IN DISCOVERING MORE ABOUT OUR PRODUCTIONS

“HEART-STOPPING…SHECHTER’S GRAND FINALE HAS ARRIVED WITH A BANG.” FINANCIAL TIMES

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INTRODUCTIONHOW TO USE THIS PACKThis resource pack has been designed to be interactive using Adobe Acrobat Reader and a has a number of features built in to enhance your reading experience.

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CONTENTSINTRODUCTION Welcome pg 3

INSIDE THE CREATION Research & Development 4 Intensive Rehearsal Period 7 Production Weeks, Preview & Premiere 10

INSIDE THE PROCESS Q&A Hofesh 13 & 26

Q&A Music Collaborator, Yaron Engler 14 Q&A Music Collaborator, Nell Catchpole 15 Q&A Set and Costume Designer, Tom Scutt 16 Q&A Dancers, Merel Lammers, Rachel Fallon 21 Music of Grand Finale 23 Q&A Chris Allan & Rebekah Allan 24

EXPLORING GRAND FINALE Warm Up 27 Motif Work 28 Duet Work 29 Unison Work 31

DISCUSSING GRAND FINALE Movement Content & Themes 32 Design 34 Music 35

BEHIND THE SCENES Life on tour 36 Meet the Team 40

SUPPORTING INFORMATION Links 46 Take Part Oppurtunities 47 Hofesh Shechter Company 48 Appendix 1: Q&A The Board of Trustees 49 Appendix 2: Hofesh in Conversation 51 Appendix 3: Twitter Q&A with Hofesh 54

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WELCOME

The world impacts on the work immensely. It completely affects me. And I want it to.” HOFESH SHECHTER

Welcome to the Grand Finale resource pack - for anyone who is intrigued by the work Hofesh makes. Use this pack if you’re inquisitive about his work – this pack is devised for everyone; whether you are a first time visitor to one of our shows, or a long-time fan, young or not quite so young; whether you are a student using Hofesh’s work at school, college or university as part of your studies, or a teacher using Hofesh’s work to stimulate your students. This pack aims to bring you closer to Grand Finale - the creation process, the touring production, Hofesh, some of his collaborators, and of course our tribe of wonderful performers. Inside this pack there is plenty of insight into the work, practical tasks to try, and lots more. If you’re a teacher or student, please see page 31 for an exciting way to share your Hofesh-inspired work with us.

GRAND FINALE Artistic TeamCHOREOGRAPHY & MUSIC HOFESH SHECHTERPERFORMED BY HOFESH SHECHTER COMPANYSET & COSTUMES DESIGN TOM SCUTT LIGHTING DESIGN TOM VISSERMUSIC COLLABORATORS NELL CATCHPOLE & YARON ENGLERASSOCIATE ARTISTIC DIRECTOR BRUNO GUILLOREDESIGN ASSISTANT (SET & COSTUME) ROSIE ELNILE

PerformersDANCERS: CHIEN-MING CHANG, FRÉDÉRIC DESPIERRE (REHEARSAL ASSISTANT), RACHEL FALLON, MICKAËL FRAPPAT, YEJI KIM, KIM KOHLMANN, ERION KRUJA, MEREL LAMMERS, ATTILA RONAI, DIOGO SOUSA

MUSICIANS: JAMES ADAMS, CHRISTOPHER ALLAN (BAND LEADER), REBEKAH ALLAN, MEHDI GANJVAR, SABIO JANIAK, DESMOND NEYSMITH

MusicORIGINAL SCORE HOFESH SHECHTERMUSIC COLLABORATORS NELL CATCHPOLE & YARON ENGLERPERCUSSION ON SOUNDTRACK HOFESH SHECHTER WITH YARON ENGLER SCORE TRANSCRIBED BY CHRISTOPHER ALLAN

ADDITIONAL MUSIC: Waltz: Love Unspoken from The Merry Widow by Franz Lehar, as performed by the London Philharmonic Orchestra

Andante Cantabile String Quartet No.1 and Suite No. 4 in G Major by Pyotr Tchaikovsky and Russian Tune by Vladimir Zaldwich

Production Team TECHNICAL MANAGER ANDY HAMMONDRE-LIGHTER ANDREJ GUBANOVSOUND TECHNICIAN RICHARD YOUNGSTAGE MANAGER LEON SMITHASSISTANT LIGHTING DESIGNER RICHARD GODINASSISTANT STAGE MANAGER EMMA DYMOTTTOUR MANAGER LINDA PETERKOPA

Grand Finale CommissionersGrand Finale is produced by Hofesh Shechter

Company and commissioned by Georgia

Rosengarten.

Commissioning Partners: Sadler’s Wells,

Théâtre de la Ville-Paris / La Villette-Paris

and Brighton Dome and Festival. Co-

commissioned by Colours International

Dance Festival Stuttgart, Les Théâtres de la

Ville de Luxembourg, Romaeuropa Festival,

Theatre Royal Plymouth and Marche Teatro /

Inteatro Festival together with Danse Danse

Montréal, HELLERAU-European Center for the

Arts Dresden, Dansens Hus Oslo, Athens and

Epidaurus Festival, HOME Manchester and

Scène Nationale d’Albi.

Grand Finale is generously supported by the

International Music and Arts Foundation.

HOFESH.CO.UK HOFESHCO

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In January 2017 the company worked in Villa Nappi and Marche Teatro Ancona in Italy for a month of residential research time. This intense period was a coming together for them all following time away on sabbatical (Hofesh), some extended leave (many of the dancers) and a regrouping as two new dancers (one from France, one from America) joined us. It was what Hofesh at the time described as a ‘new chapter for the company’. The dancers and Hofesh lived and worked alongside each other for this period of time, eating and socializing together as Hofesh started to explore with them the world he was hoping to create in Grand Finale – which at that point had no title and was simply known as ‘New Creation’.

INSIDE THE CREATIONRESEARCH & DEVELOPMENT: WINTER IN ITALY

Hofesh watches as his dancers improvise

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It felt isolated and confined to be cut off from the rest of the world, but also easy and stress free to be living and working in the same building. It helped me get to know the new dancers. It felt intense but it was what we all needed to begin the work. There was some imagery and energy that Hofesh knew he wanted, so we played a lot with that. We tried many different things so the dancers had plenty of memories in their bodies to take back to London.” BRUNO GUILLORE, ASSOCIATE ARTISTIC DIRECTOR

Hofesh reflects that, “Our time in Ancona was the birthplace of everything that has come to be Grand Finale. This experience was incredible - the best way to begin a new creation. We were enclosed in a little commune-like house with a studio in the building. Living inside this little bubble, within a little village and fields. We were completely secluded – really incredible, drowning in the work and the energy. Usually when I work on my own in my room, I drown into a fantasyland of idea and sounds. In Villa Nappi I could do this for a long time with the dancers – be in that bubble, allowing anything to come.”

Velia Papa (Director of Marche Teatro) explains a little more about this creative residential offer. “Surrounded by a park, Villa Nappi in Polverigi is a real home for artists: a special place for creation, production and artistic expression. Marche Teatro runs Villa Nappi, a creative residence with 11 bedrooms, rehearsal and meeting rooms, common spaces, and a kitchen/restaurant. We host a programme of residences by national and international artists every year. We invited Hofesh Shechter because we consider him one of the most innovative choreographers in the world - he liberated the contemporary dance scene from tedious clichés, creating a powerful and revolutionary physical language evoking present issues.”

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It was quite full-on to be honest! Definitely in some ways it is easier to dive into a creation all together like that, which creates this temporary world only existing there and in that time with these specific people…it was quite an experience.” MEREL LAMMERS, COMPANY DANCER

Ming, one of the dancers found this isolation beneficial. He recalls that, “After such a long break it was really nice to be back together again, and I loved that. It was also hugely convenient – my bed to the studio…this journey took me less than 1 minute. I usually commute into our London rehearsals from Kent, so this was a much better commuting time for me! It meant that I wasn’t so tired so I could just concentrate on the work. Sometimes isolating yourself from the busy world is a good thing. Dinner was prepared for us, and we all would eat together every evening, on a long table, like a big noisy family. I liked this community feeling we had. We drank a little wine every evening – like real Italians!”

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Moving / Watching / Filming / Composing

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INTENSIVE REHEARSAL PERIOD: SPRING IN LONDON

Interspersed with some touring (of Hofesh’s previous work barbarians) and teaching, Hofesh, Bruno and the dancers spent the spring of 2017 at Lantern Studios in East London developing the work further. Hofesh discusses progress on the work, which he had now titled Grand Finale, in this interview.

WATCH HOFESH AT LANTERN STUDIOS

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So far I have a LOT of thoughts in a notebook. I need now to understand what the stage looks like, how many dancers I have, where they are…” HOFESH

Bruno remembers this time as “…a continuation of what we started in Italy, it felt like a natural evolution. We had a big adjustment to make though – this studio was much bigger than the tiny studio in Villa Nappi, so we had created very compact work without realizing it. In this huge new studio some of the things we had made in Italy felt lost or static. It was interesting to solve this.”

Ming remembers it as a time when things started to clarify a little, for Hofesh and therefore for the whole company. “Once back in London there was less time to try stuff. As soon as there is a time pressure, Hofesh always gets clearer about what he needs from us. We were then talking about set and how the stage will look, what our playground will be.”

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My main thought at this point is to make something that can tour. We are not a West End show that can run in a theatre for months at a time. We need to tour” HOFESH

During this rehearsal period, the studio trailer was created, allowing people to step into the studio, and take a peek into rehearsals.

WATCH THE STUDIO TRAILER“

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May 2017 saw the company travel to Plymouth where they lived and worked for the whole month, as guests of Grand Finale co-commissioner Theatre Royal Plymouth, using their TR2 production space. This period of time was naturally intense, as Hofesh started to draw all the elements together. The TR2 space allowed for the prototype set to be installed, and for Tom Visser (Lighting Designer and Grand Finale collaborator) to work with Hofesh on the lighting design.

During these weeks in Plymouth, the final production trailer was created.

WATCH PRODUCTION TRAILER

Part of my job in this phase was to make sure that there is a thread or make sure all the threads are connected to one thing somehow – something that holds it all together – a thought, a question. I’m now at a point when starting to understand what that thought or question is…” HOFESH

PRODUCTION WEEKS, PREVIEW & PREMIERE: SUMMER IN PLYMOUTH & PARIS

Heart stopping. Deeply affecting. Grief, loss, nomadic, endless, relentless. Heart punching. Winded solar plexus.” AUDIENCE MEMBER TWEET,

PLYMOUTH

No words can capture the experience of a @HofeshCo performance, but suffice to say Grand Finale @TRPlymouth was beautiful and invigorating.” AUDIENCE MEMBER TWEET,

PLYMOUTH

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Following the preview performances in Plymouth, the company returned to London for 2 days of cleaning rehearsals, before they caught the train to Paris for their production and world premiere run for commissioning partner Théâtre de la Ville/La Villette. After 5 long days of production rehearsals on stage the company shared the world premiere of Grand Finale with a run of 10 performances, all of which had sold out months previously.

Claire Verlet, programmer at Théâtre de la Ville explains why she programmes Hofesh Shechter Company. “Théâtre de la Ville seeks artists who have a language of their own, a personal voice, reflecting on the struggles of our time. Therefore, it’s no wonder we took Hofesh Shechter on board for a long-term journey. We first presented him in 2010 and have invited him every year since then. We have co-produced all his works since 2010. This strong commitment goes parallel with audience development. This year with Grand Finale we reached over 10,000 paying spectators. It’s a great achievement that we’ve realized alongside the company year after year.”

Grand Finale shakes the compass of tribal dance. A must see.” LE MONDE

Shechter’s dance electrifies La Villette.” LES ECHOES“

“PREMIERE PERFORMANCES

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The whole company was by this time pretty tired, but extremely happy to finally get the work out on tour. With a touring party of 27, comprising 6 crew, 10 dancers, 6 musicians, 1 tour manager, 1 physiotherapist, Hofesh, Bruno and Management (Executive Director Henny, or Producer Niamh), and the set itself, the international tour is a huge logistical juggle as Niamh notes, “It’s a beast of a piece logistically and technically, but it’s a beautiful beast of a piece … there are 27 cast and crew on the road together with an assortment of musical instruments and Tom’s epic and extraordinary moving monoliths… I’m very excited for the tour ahead. I just want people to see this work as far and wide as possible.”

Henny Finch, Director, sums up the mood at the Paris world premiere. “Hofesh has created a piece of work that throws you huge changes in tone in a way that holds the audience’s attention completely. It’s an experience that will resonate with many people all around the world, as the themes reflect and suggest what’s happening to people in the world right now”

Grand Finale – an epic fresco of body and emotion.” LA CROIX

Grand Finale goes straight to the heart.” LES ECHOES“

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INSIDE THE PROCESSQ&A Hofesh, and some of the other collaborators and performers share their background stories and perspectives from the Grand Finale process

HOFESH, this is the first creation for HSC with live music for a while. Has it felt good to factor this into your creative thinking and your process again?Yes it felt good…though it brings a level of complexity and difficultly that is challenging, but it’s true to say that it is completely worth it. There is something I can’t discover without live music. The existence of the musicians, the level of unpredictability in improvised moments, means I discovered a lot of things that I wouldn’t have otherwise…and the piece receives that as a discovery so I did enjoy that very much. There is the organizational challenge – from rehearsals to where the musicians are on stage….but you know, these are just logistical complications because it’s more people to work with. If Grand Finale is a monster then having a band of musicians made that monster a bit bigger, you know?! But TOTALLY worth it, and the musicians are just great – totally open to it all.

WATCH HOFESH DISCUSS LIVE MUSIC FURTHER

Share with us some influences on this work that young people can go away and look up. There is the obvious one – Titanic and the ‘sinking ship’ imagery in the piece - but were there any other influences that fed into the process?Yes, there was a film….Swiss Army Man – it’s quite a new film. And it’s very funny. We were working in the studio, with dragging dancers’ bodies, and some of them said “Oh you have to see this film called Swiss Army Man.” So we sat and watched it. It’s about a guy who finds a dead body, and he’s in the middle of nature trying to survive. The film is about how he drags the dead body with him, using it to help him survive somehow. For days and days. It’s very weird. But funny. So that was something interesting that came up. We talked about a lot of other things. For example we spoke a lot about the human web and interactions, how we are all connected, how our decisions affect each other – we were working on all these sections that include everybody, like a big tumbling thing.

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Tell us about your collaborations with Tom Scutt (Set and Costume Designer) and Tom Visser (Lighting Designer), who were both new collaborators for you? It was really good. Both created a diversion to the first idea I had. Which is exactly what I needed, what the process requires. With Tom Scutt, I came to him after I’d had a dream, it was something to do with structures on stage. I drew it and I showed it to him, and that started the ball rolling. Of course he didn’t just manufacture a design from that dream, instead it evolved through his brain and his vision. We went on a journey with it. Something amazing that came out of his design, I mean alongside the design itself, which is simple and powerful, is that I was so worried about having something that can move around, not be static on stage. And he said “Listen don’t worry, I’m going to put them on wheels, so the performers can move them around in the dark.” However because his design is so slick, the movement of these towering structures looked

so beautiful to me, that I thought ‘actually that is really interesting and useful to the piece…’ so moving these huge pieces of set becomes part of the whole thing. It’s amazing to me that he designed these huge walls that look like they just float around on the stage. So that is what I mean by an amazing diversion…

And with Tom Visser, it was the same. I came to him with my ideas for how I wanted the stage to look. And those evolved as part of his vision. They were both really tuned in to my ideas and to my world, so there was a sense that they were coming with me. At the same time they each have a very particular voice, so both their designs have a very strong presence in the piece. Of course there were sometimes some problems with losing our connection to each other, as there always are in a creation process. But in the end of the day these collaborations for me were both

a really, really good experience.

Q&A Yaron Engler

Hofesh is an unusual choreographer in that he also composes the music for his work. Yaron Engler, one of Hofesh’s music collaborators on Grand Finale, discusses their initial conversations around the musical landscape Hofesh was hoping to compose for the work.

LISTEN YARON ENGLER INTERVIEW

Tom Visser observing a rehearsal with Hofesh

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Q&A Nell Catchpole, Hofesh’s other music collaborator, explains her role in the creation of the epic score for Grand Finale

How did you first come to work with Hofesh?I first worked with him on a piece he made called In your rooms. It came about soon after he’d won the audience vote of the Place Prize – the Director of the theatre there, John Ashford, was also a Trustee of my company The Gogmagogs. And Brian Eno (who I’d worked with for many years) was on the Place Prize judges’ panel. When Hofesh mentioned to them that he wished to work with some strings composition on a piece of work, I believe they both suggested he should try collaborating with me. They felt I’d be a good fit.

What was your role on Grand Finale?As a musical collaborator my role with Hofesh is often to listen and respond to his thoughts. More often than not our collaborations begin with him coming to my place and just talking about his ideas. And I listen and make notes. It feels like this is a good space for him to do that. With Grand Finale, we talked on the phone first. From the beginning with this particular piece, I felt that he was extremely clear about what he wanted. I felt that he had a strong image in his mind, so for me it was a matter of excavating that. He had some phrases composed already, which he played to me, and which I responded honestly to. I improvised some music in response to this and his images, which he recorded. Some of the composition from that first session, made it into the final

score. This is often the way! With Grand Finale the score developed hand in hand with the image he had of the band – the types of instruments they would play, and how they would be at the heart of the work.

What type of images did you and Hofesh discuss for Grand Finale during this collaboration?We talked a lot about the band doggedly, loyally playing on, no matter what. We also discussed the music having a sense that it belonged somewhere – geographically, culturally – but you can’t quite put your finger on where. Hofesh talked about this band being an eclectic group, visually and in terms of instrumentation. They belong with each other, but there is this sense that we can’t quite place them.

What happened next?Well in the run up to the creation period I worked with Hofesh in making final decisions about the band – musicians and instruments. Then I went to early rehearsals to support the group culture and sound and way of working, with this group of wonderful musicians. We got to the point where we were trying sections of music as part of the rehearsal days, with the dancers performing alongside it. The score was not yet finalised at this point, but that is where I left it. I will see the work for the first time at Sadler’s Wells Theatre next month. I usually get swept along into the experience as an audience member, rather that worrying about the score alone, and I’m very excited about that! I think it will be a very emotional piece with real heart, a sense of ‘lost-ness’ in it too – which feels very appropriate at the moment.

How is working with Hofesh different to some other musical jobs?In a lot of situations, musicians rock up a few hours before a gig, and play what’s on the page. Hofesh demands a different kind of investment. As a musician in one of his pieces you’ll be involved in the rehearsal process, you are integral to the final work. It puts a different kind of demand on you as a musician. Finding a quality, an intention in the music is important to him – it’s not just about playing the notes. This takes time to find. There is something extraordinary about Hofesh, the way he works in the space – he creates good feeling between people. The dividends this pays back are huge.

What advice would you give a young person interested in pursuing music composition?Authenticity is important. What is interesting is music that comes from a context, so that you are in your own music. Understand where the sounds you are making come from. Listen and watch a wide range of music, even stuff you dislike…just broaden your references and be open. I would also say that it’s normal to be scared about sharing your work. Anyone who doesn’t feel that must be lying! And take an interest in small things happening, it doesn’t have to be a major performance. There is so much interesting work happening at the fringes. There is something exciting about work that doesn’t conform to the status quo. Search for it, or make it!

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Q&A Tom Scutt, Set & Costume Designer

How much did you know about Hofesh’s work already? What made you say yes to collaborating with him on Grand Finale?I knew a lot of his work already…and weirdly we first actually met at the American Embassy in London back in about 2013 I think, though I’d known who he was for ages but it was just a really funny way to have first met, sitting next to each other in a queue, nothing to do with anything artistic, just stuck in this queuing system. Funny! Anyway, I guess we just circled each other a bit over the next few years. I used to do a lot of work with Headlong Theatre so have known Henny a long time, [Henny Finch - Director at HSC and formerly Executive Director at Headlong Theatre] so I think in the end she sort of match-made us. So we met up to talk about his first ideas for his new work, Grand Finale, and his initial thoughts, which at the time were, as you’d imagine, quite nebulous. It went from there really. We just kept meeting up and chatting.

What were some of those early conversations about?We talked about a lot of things…we discussed the apocalypse, mass hysteria, disaster movies and hyperbolic reactions to world events. We discussed tragic world events, and the idea of dancing it all away because there is nothing else that can be done. We talked in those terms, and it was a very wide discussion at the start. Then slowly but surely, the more we met the more we honed in on what it was that he wanted to be talking about in his show and after every chat I just went away, pulled up lots of visuals and came back with more and more references each time in the hope that it would light a spark and take him onto the next level. That’s really what a large part of my role was in the collaborative process…it’s translating I guess – translating his thoughts and ideas into visuals, be they architectural, or otherwise. I brought him artists to look at - big installations, editorial pictures, to see if anything resonated. There is one particular image actually, which I showed him an installation of, which is in the show. It’s that moment where the performers kneel in front of walls. That’s derived from a particular image we looked at. Of course, at the time you don’t really know how much of it is going to land, how much of it is going to stick, what will feel right and what’s wrong for the piece, but as you go through the process and watch him ‘knead the dough’ as it were, and work it all together, you then come to see how much has been fed through from the work you did together at the beginning. It’s really fascinating.

Tom Scutt’s model box

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The structures, the ‘walls’ in your design. What do you call them?Yes….walls, monoliths, totems… Hofesh had a desire for a space that could morph and change, somewhere that felt malleable yet dominant and epic. He said ‘epic’ a lot during the process, which I think we got to realize that with the design. In fact however small or big his shows are I always feel they are epic in scope and ideas. So I always knew that large scale was going to be a factor in the design. So in my own work, I feel a lot of it is the design equivalent, in a way…it does have a sort of magnitude to it…and I’m always quite interested in how tribal or religious the theatrical experience can be – there is that element of congregation, of awe and spectacle. We talked about that lot.

Walls can symbolize so much – did you talk about that much, about how they might be interpreted?Yes absolutely - we talked about how walls seem to be a thing that embody metaphorically so much that is going on in the world at the moment. So we started playing with that. For me there were pitfalls in this – there was the possibility of bad versions of this design, that could feel like quite a literal interpretation of the notion of walls on stage. So the challenge was to find an object that could almost embody the dancers, the dancers and the walls become one, so that the walls could move as if they were people. The moment we hit on that it started to open itself up….the idea that architecture and humans aren’t two separate things…the thought that they could be enveloped within the same idea, and that became really interesting to me in the sense that when you see the walls moving, they almost don’t feel like walls, they feel like dancers.

Another of Tom’s model boxes The walls being created

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Hofesh says that originally he was envisaging these walls would move and morph in total blackout. However once he saw them to scale, he found these towering structures so beautiful, that it made him think about their role in the work. Anything to add on this?

Yes, that was a huge part of all our conversations. For example I had great concerns at the time about the idea of a set that changed shape throughout the piece, because once we started talking about the performers moving them on stage visibly, I was wary. I felt like we were trying to convey the idea that these walls potentially were immovable or made of extremely heavy material so yes…I had concerns there. We looked at a lot of Richard Serra sculptures – big metal blocks…and my worry was as soon as you see someone move them manually, it removes their power, they become inert, they become scenic, both literally and metaphorically light. So I said to Hofesh ‘What if we were to black out in between each set change, so in a dark moment the set would change, then the lights come back up and the walls would be in a different configuration….’ It would mean that the walls had this deeper identity, like they were these personalities that moved themselves. A bit like a game of ‘What’s the Time Mr. Wolf’, you know? So you turn around and they are closer to you….it can be quite scary and intimidating. So certainly played around with the notion of the identity of the walls and how they moved in the space.

Then when Hofesh and I visited the workshop where these structures were being made, we developed a shape and a style of wall that meant that they could be moved from behind without the performers being seen. And I think this was the breakthrough… because they float across the space as if they were people. What was really wonderful for me is that my job in theatre is usually to go that extra mile and make sure that the director of the piece I’m working on lights it, in this case in a way that makes it feel like there are 50 of them and not 8. And that there is a soundscape that feels like the earth is moving underneath them and that something seismic is happening. And that’s normally what I would do; it’s the role I would take. But with Grand Finale I walked into the technical rehearsal and see that Hofesh has done all of that already. And I did have a little bit of a cry because it looked so beautiful! And to see the soundscape come out of the same person’s head that you had those early conversations with at the very beginning….it’s a really fascinating and rewarding way of working because it’s so direct. I felt like together we’d made this complete world. It was the lighting [designed by Tom Visser] that really blew me away with the walls, because you feel like there could be dozens of them, but you don’t really know.

What are these structures actually made of?They consist of just a simple metal frame that we designed. We then went through several iterations, (quite painfully!) of what they were going to be covered in. Hofesh was interested in them being almost papery….quite a light, crumply paper. He was also interested in concrete. We ended up stripping that back to a much more simple place – because often that concrete effect, when you have to be painting onto a canvas rather than a solid surface, on stage it can end up looking artificial. And the one thing we didn’t want these structures to feel like…was artificial. They needed to feel authentic. So we went for a much, much simpler grey, painted canvas that covers each side, they are individual panels that rip on and off. The main reason for that was touring, in fact the biggest difficulty for me about this design was trying to get across epic magnitude, a huge sense of scale, when it also all needed to be broken down like Tetris blocks and fitted into a truck. And so a lot of our decisions were based on how to solve that – how to have our cake and eat it. The lighting that Tom created really helped us out in that sense, because they became these huge looming shadows that lurked in the background or changed the canvas on which the movement is happening. And that’s just a dream for me, that’s what design should do on stage – just frame support and enlighten what’s happening in front of it.

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Costumes – the other element of your design. There is a different tone between Act 1 and Act 2. Can you talk us through that?Well originally the Act 2 costumes were the only costumes…and we went through a process on that…that ended with us agreeing that for the second half of the evening there needed to be more of an explosion in terms of what the dancers were wearing, kind of a liberation, more vivacity and a reality to it that made it feel more immediate, more indulgent in a way.

It’s hard to force an interpretation on what Hofesh is creating, however I do feel that Act 2 is defiant, staring in the face of adversity and despair and trauma and living through it. Literally dancing through it, in a really

conscious way – folk dance, raving…. so I think the costumes indulge in all of that a bit. So Act 1 feels in a way more emblematic, that the characters are embodiments of ideas, cyphers, and are more universal in look, they almost don’t feel as human, strangely, as the people in the second half, which we reflected in the costumes, so I think that journey, between Acts 1 and 2, really works. So in terms of costume colour, in the second half we just let it explode a bit - there is some relatively poor taste leopard print, a bit of velour jumper going on…and there is quite a lot of repeat of red white and blue in there, that I wanted to get in. I think there is something interesting about France, Russia, America, Britain…sort of a subliminal sense of mounting extremism in the present day. There are a lot of stripes

in the second half that feel flag-like. It was an interesting notion for me to try and capture some of that into costume somehow. But more importantly you’re getting a sense of real people, and of different taste as well. It’s less classy in a way, which I enjoy. It’s the way Hofesh and I managed to get in a bit of his trademark humour, that dark humour that he has. I kept trying to force Mickey Mouse t-shirts on him for the second half but he wasn’t having any of it! I was thinking, you know….the end of the world, the apocalypse happens but there would still be Disney…a kind of radio active Mickey Mouse. But I think we captured a bit of levity with the costumes in the second half. So by contrast we agreed that the Act 1 costumes needed to be more universal, a softer palette…have less personality to them in a way.

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There’s a moment at the start of Act 2 when the band face upstage and watch the dancers - it’s very poignant, we see the musicians a little more clearly – we can see what they are wearing, who they are...can you talk us through that?

Yes, to me it feels like people looking through time – ghosts having an eye on the future somehow, and that’s what’s really visceral about Hofesh’s work, it feels like it transcends topicality because it refuses to be pinned down to a time or place – it feels totally eternal and elemental. It has ghosts running through it….

For the musicians’ costumes - this was an idea I am really pleased I had, actually! I showed Hofesh pictures of disaster movies being filmed with green screen technology. So you have all these actors in period costume, screaming as if their lives depended on it, but they are in front of a big green screen in the studio, and it’s quite funny. We really enjoyed that hyperbole. One of the images I found was the band on the Titanic in their life vests and evening wear with coats and flat caps….Hofesh always told me that the band was going to be the eternal flame in this piece and I loved this idea that to the last moments as the Titanic was sinking, the music was playing. So we put those costumes in there, it’s kind of a cheeky nod I suppose, but it resonates enormously - these rich middle class white people in their life vests in the middle of the ocean, in contrast to recent events at sea…it’s quite an interesting way of looking at current affairs.

Now you’re out the other side of this collaboration, and perhaps have had a little time to reflect, what is your ‘take away’ from this experience - did you learn anything about your own process?I guess in my work I like to think in elemental abstract ideas, not let the text restrict or pin me down to the trappings of architecture…. I’ve always been that way inclined in my design work in theatre. So I felt my style would lend itself well to Hofesh’s work. But what’s been really amazing is just watching Hofesh make a complete piece of theatre, (ok, granted it involved collaboration with designers – lighting, costume, set – and of course the amazing performers) but essentially it’s all come from his head, and that defies justification! It doesn’t need justification actually, it’s just expression. So the task for me was to jump onboard with that, run alongside it and hopefully feed into it with my collaboration. For me that’s been a really inspiring thing to take back into my own process – theatre is a world that can, if you’re not careful, really become a process of various different strands – not often coming together at the same time. It’s often very difficult to get everybody into your creation process in theatre, and maybe that’s because in theatre a text exists and we all feed into that…. whereas Hofesh is a living, breathing script or text that we as collaborators feed into, and I think that process is really inspiring. I’m trying to find a way to make sure everybody is folded into the creation process as fully as possible in order to create a truly fleshed out experience. With Hofesh’s pieces, it’s not just some dance on a set with music, it’s an experience, an event. I think good theatre should feel like that – you witness, you’re part of an experience. I think I always knew that, but this collaboration with Hofesh has inspired me to make sure I push this ethos forward at every single opportunity from here onwards.

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Q&A Dancer Merel Lammers tell us a little about herself and shares her experiences of Grande Finale

Hello Merel. How long have you been in the company?I have been in the company since September 2012, first as an apprentice and joining full-time in mid April 2013.

What is it that keeps you here – what do you love about this job?I love the physicality of the work, in my eyes it’s a very unique approach, and it really grabbed me by the guts and the heart. Also I think the work has a way of demanding a deeper connection than just the pure technicality of it - the connection to the person behind the movements. Which keeps it very interesting and personal and keeps me connected with the work. I feel I can grow as an artist and as a person by being part of this company.

What is the best part of your job?The best part of my job firstly is that I can do everyday what I like to do - expressing myself by moving; I’m getting paid to do what I like, and people come to see us doing crazy stuff on stage, haha that’s amazing! The other really nice part is that I feel the work never gets boring, it’s so versatile in movements, sensations, colours and dynamics, that there is always some way I can challenge myself.

What is the most challenging part of your job?The most challenging part emotionally is probably being away from my family and close friends. The second thing (which is quite weird considering my choice of profession) is that I find performing quite difficult. It depends on the piece though - for some of them I’m very nervous. Not just a bit, but like I-want-to-cry-and-hide-in-a-corner-and-go-home nervous. I’m still working on that! The third thing is that I find it hard to always approach the work feeling open and available, I have the tendency to stay in my comfort zone once I find it and work from there. I wish I could sometimes throw myself into whatever, without fear and see what happens - even if that means that the result is rubbish and I make an absolute ass out of myself. Physically the hardest part is the touring; it’s amazing to travel so much and to perform in different countries, but in the same time it’s exhausting.

What world was Hofesh creating with you all in Grand Finale?There is this one image that really sticks with me - Hofesh shared it with us during the research period in Italy. It’s

the scene in the movie Titanic when everyone is aware the ship is sinking, there is chaos and fear and people know they’ll most probably going to die...and than that one violinist decides to continue to play their music while the crew is loading the lifeboats and there is panic all around. His fellow band members join him. I can only make assumptions about why they decided to act like this. Maybe partly to keep the passengers calm, but most likely I think it’s because of passion. They wanted to fill their last moments alive not overwhelmed and frozen in fear or panic, but fully, passionately expressing themselves in a way they knew. Their last song. We were playing a lot with that atmosphere. With the fear, panic, the passion, the fight and the accepting surrender. What if this was your last hour? Your last words? Your last dance?

Having danced in the company for many years, are you learning anything new about Hofesh and his process during the creation of Grande Finale?I think Hofesh is getting much better in sharing his personal process during this creation compared to other creations I’ve been through with him. Also I feel there is more open mutual connection than before; he sits down with us once in a while to check where we are at, how we are feeling with the piece, with the process, etc.

There is some singing in the work. Can you tell us a bit about that?As part of the research we were singing some songs! An Israeli song and an English song (inspired from the movie Swiss Army Man). It was so nice to sing. I enjoyed it!

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Q&A Dancer Rachel Fallon, one of the most recent arrivals at the company

WATCH HOFESH INTRODUCES RACHEL

What drew you to want to dance with the company?I remember being blown away by the women of the company for their strength, humility, and supple power. I thought it was unique to see a dance company with women so beautiful in their honesty. I was also attracted to the company because of Hofesh’s connection to music. He has an intricate way of understanding and composing layered rhythms and I enjoy letting that move me.

What has been the best part of this job so far?Something I’ve really enjoyed about working with the company is being inspired by my colleagues’ diversity. The dancers are from all over then world and bring a unique set of experiences. Our work environment allows for a lot of freedom and we are always encouraged to be ourselves. I have also enjoyed teaching Hofesh’s work. We get many opportunities to share the work with students and I find that very inspiring and rewarding.

Tell us a little about Hofesh’s process on Grand Finale? Hofesh’s process began with learning a lot material and improvisation tasks with us all. Sometimes if felt like many vignettes being created and tested in order to find the heart of the piece and the people in the room. As the process carried on I let go of any preconceived ideas and just trusted the pure work. We all have different journeys in the work and find meaning for ourselves within the whole of the group.

What world is Hofesh creating with you all in Grand Finale?The world of Grand Finale feels like a beautiful, but inevitable unravelling of human existence. We play with being confined within existing walls and pushing boundaries. There’s a sense of urgency as our created world comes crumbling to an end. The accompaniment of the musicians act as a beautiful, haunting, and evoking mass.

Are there any particular images he asked you to explore or connect to during rehearsals?Yes, we have played with many different energies and images. Some include a raw animalistic quality, or the paralyzed feeling of shock. The work is very much about the group as a whole, so we have used a lot of partnering and touch among each other.

What do you hope Grand Finale will mean to audiences who come to see it?It’s hard to say what an audience should feel when seeing any art because they are entitled to their own opinions and current state of mind. However I hope the audience feels they are able to connect and question the work.

Tell us something you’ve learnt about the company since you’ve joined…I have learned that this company has a great sense of humour!

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THE MUSIC OF GRANDE FINALE

The band is a combination of musicians that you can’t quite label …a cosy, warm, hearty band. Something to hold on to. The constant, beating heart of the piece in a way.” HOFESH

The band features 6 musicians - Chris, Des, Rebekah, Sabio, Mehdi and James – who between themselves play 18 instruments during the piece:2 cellos + 1 viola + 1 Harmonium + 1 guitar + 1 trumpet 1 clarinet + 2 Kavals (Bulgarian flutes) + 1 Ney flute (Persian) 1 Oriental Flute + 1 Santoor + 1 Frame Drum + 1 Daff 1 Melodica + 1 flute + 1 Zurna + 1 Suling flute

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Q&A Chris Allan tells us about himself, the band and life inside the world of Grand Finale

What was your pathway into a musical career?My parents were both music lovers, but not musicians. They encouraged me to learn an instrument - and I was adamant that it had to be the cello. I started when I was 8 years old. There were times when, like most children, I wanted to stop - but that was never even contemplated by them! I studied cello at the Guildhall School of Music and Drama in London.

How did you first come into contact with Hofesh’s work?

When I left the Guildhall I joined a new contemporary music and theatre string group called the gogmagogs, which was started by Nell Catchpole, a long term collaborator of Hofesh. She introduced me to him. I first performed with the company at Sadler’s Wells in In your rooms.

What appeals to you, as a musician, about Hofesh’s composition?Hofesh’s work is full of feeling and that’s a really strong element in the music. Above all I love the total connection between the dance and the music. The fact that he conceives the music makes that happen - it is all one. That works brilliantly.

Can you talk us through the Grand Finale band please? A quick who’s who and what they each play.We are quite a multi talented and multi skilled group, from many different musical and cultural backgrounds - a motley crew!

We have a string trio consisting of Rebekah on viola, Desmond and myself both on cello. We three are all classically trained but also all have an interest in other music genres and other art forms.

James is mainly a guitarist (with many different styles up his sleeve - flamenco, classical, you name it), who also plays drums and blows things.

Mehdi comes from Shiraz - he is steeped in the musical traditions of Iran, playing the santour (a string instrument which is played percussively), the ney (a wooden flute) and drums.

Sabio is a classically trained percussionist who used to play drums on the Polish and international rock scene. He is never happier then when creating new sounds with new instruments.

Do you have a favourite moment in Grand Finale? One of my favourite moments is just before the “bubbles” waltz - we, after playing at the front of the stage, rise to leave, but then wait motionless facing the dancers, with our backs to the audience. ….it feels at that moment like we connect to them and their journey very strongly.

What sorts of images and ideas did Hofesh discuss with you all for Grand Finale? He has spoken about the band being ‘the heart of the piece’...can you expand on that?The image of the band of the Titanic, playing on in their life vests, resonated very strongly with me. The idea that the ‘band plays on’ is a strong element - the show closes with the same material as at the beginning, it is like a living breathing continuum. In fact that musical idea is almost literally like breathing. We are a living entity in the midst of chaos.

Any pre-show rituals/habits to get you in the right mindset for the performance?Costume is all - as soon as we don our bow ties and tails, we are there. (Plus a bit of tuning in of course!)

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Q&A Rebekah Allan shares her story and experience of Grande Finale

What was your pathway into a musical career?Both my parents were huge music lovers and my Berliner mother had grown up queuing all night for tickets to hear famous conductors and opera singers. She brought that to our childhood by taking us to as many concerts as possible. I started playing the violin at the relatively late age of 10, and having watched and heard my 3 older siblings all play violin or cello, it came quite naturally to me. Music was a big part of my school, and though it wasn’t a specialist music school I was lucky enough to play chamber music with my classmates. I left school and had a gap year working in a dairy in South Africa with adults who had learning disabilities. I had no particular intention of studying music at this point. However, I missed music and eventually wound up studying at Trinity College of Music in London for 4 years and then another 2 years in Holland.

How did you first come into contact with Hofesh’s work?I knew and had played with Nell Catchpole who was one Hofesh’s first musical collaborators. When he wanted more string players, she asked me. Funnily enough, I had never played a viola up until that day in the studio when Hofesh asked me to put my violin away and play a viola for his work. I think I brought the violin back to early rehearsals of the next show we were part of, hoping he’d allow it in, but the higher instrument isn’t for Hofesh. He always preferred the deeper, darker colour of the viola sound, and I know what he means. A higher violin timbre wouldn’t fit into the ‘Hofesh’ sound world .

What appeals to you, as a musician, about his composition?I love improvising along to Hofesh’s tracks. The tonality is steered by them but these parameters immediately influence what I play. There are drones, Arabic and Jewish influences, modes and often minor keys. The melancholic, brooding and swelling feel of the string writing feels quite instinctive to me now, especially when I’ve got a viola in my hands.

It must feel different being a musician on stage with dancers, rather than being in say a concert hall as part of an orchestra/ensemble. Do you have to approach this differently as a performer?There are quite a few differences, and we’ve developed a strings language all of our own! Non Hofesh viola players wouldn’t have a clue what ‘whales’ meant, but if I’m asked to improvise ‘whales’ it’s pretty clear to me what he’s asking for. I love the way we collaborate and

create together - improvising doesn›t often happen in the concert hall! I enjoy having more time to grow into the creations and feel more a part of them than I can when I show up for a 3-hour intense rehearsal before an evening concert. It›s fun being on stage in costume and working in amongst the mind-blowing skill and energy that the amazing dancers display. Hurrah to not always being in the orchestra pit! We are performers too! I love the fact that we›re rubbing shoulders on stage with the dancers. You get to see and feel up close how strong their engagement with the dance is. They have to put so much into it, not least a massive sweat!

Hofesh always says his creation rehearsals are organised chaos until the very end of the process. Does it feel that way for you?!He brings many ideas to the rehearsal room and we try out different things. Sometimes stuff works, sometimes it doesn’t, and I’m up for trying anything. Sometimes we’ve worked hard at something, but in the end it doesn’t make it into the show, not because it was a flop but because it simply didn’t work.

What sorts of images and ideas did Hofesh discuss with you all for Grand Finale? He has spoken about the band being ‘the heart of the piece’...can you expand on that a little? Somewhere along the line the idea of ‘the band keeping on playing’ was floated, like the musicians on the Titanic as the ship sank. Despite the chaos, confusion, deaths and destruction, something essential just keeps going.

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Q&A Finally we catch up with Hofesh after the premiere, as he reflects on the piece he has made

Back at the start of this creation year you said that this piece ”…will not belong to one place or time…” Is that still true?Yes. I would say this piece doesn’t belong to a place or a time. There is the first act and the second act and there are many different translations I’ve heard from a lot of people, about how they understand these 2 acts. And perhaps inside the piece there are different times…different moments that belong in a certain time…but overall I feel it doesn’t belong to a place or a time. It’s more like a visual portrait.

Where are you with Grand Finale now? Is it finished?Well there is some tinkering to do still…I’m in a funny place because on the one hand I’m at peace with the work, and accepting that we arrived where we did and that we brought it to a place that is…you know…presentable and good to share with other people. And in the same time I can see a lot of little things, (and some bigger things!), that I can improve on, and I already identified a time in the company schedule when I can do that. So I will continue to tinker with it until I feel that it’s really the best that I could do. It’s about tightening it, creating more of a flow. Yeah, there is more to do…

There is something endless about the rolling apocalypse.” HOFESH

I like that feeling…that the ship is sinking, and it never actually does and that’s really horrible and wonderful at the same time; there is something full of hope about it and there is something depressing.” HOFESH

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EXPLORING THROUGH PRACTICAL TASKSWe invite you to practically explore the movement language of Grand Finale

Hofesh and the company are always happy to learn that teachers and students find the work interesting and stimulating for study. Helen Frost, dance teacher at one of our partner schools, King Edward VI School in Suffolk, shares her thoughts here. “I first saw a performance of Hofesh Shechter’s Sun in 2013 with my GCSE and A level Dance students. The performance captivated and enthralled all of us. The atmosphere created by the soundtrack was electric and we were gripped from start to finish with the whole concept of the work. Students who are normally tired after an evening performance were full of animated discussion for the whole two-hour coach trip back to school! Since then, we have used Shechter’s work and choreographic process as inspiration for both A level and GCSE work. Each autumn term, my A level students learn a section of one of Shechter’s works and subsequently develop this into a performance piece. GCSE students also explore the choreographic methods employed by Shechter in order to develop their own original choreography work. Younger students studying for Arts Award Bronze have learnt about the life of a dancer through our Skype conferences with the HSC company dancers. Studying the repertoire of Hofesh Shechter has challenged our own work and propelled students to explore performance and choreography at whole new level. His work is now embedded within the culture of our Dance Department.”

Associate Artistic Director, Bruno, has chosen a few phrases for you to study in more depth and to use as stimulus for your own work. We have also set some related tasks to help you develop your own ideas. Dance students at King Edward VI School have tested a few ideas for you in advance of this pack being launched, which they share here – ‘Unison work – Rave’.

Remember, if you’d like to warm up and get your body and mind in the right place for Hofesh’s movement vocabularly, you can warm up with him, Bruno and some of the company using this video.

WATCH HOFESH WARM UP EXERCISES

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MOTIFSWatch this movement from the very start of the piece, which the company refers to as ‘satellites’. See the development of this dance, from its initial creation to the premiere performances a few months later.

WATCH SATELLITES & MOTIFS IN REHEARSAL

WATCH SATELLITES & MOTIFS PERFORMANCE

We enjoy Hofesh’s work as it gives us the unique opportunity to express a real freedom of movement through an interesting and unique dance style” A LEVEL DANCE GROUP, HELENSWOOD ACADEMY,

ONE OF OUR PARTNER SCHOOLS

“ PRACTICAL TASKS

These extracts feature many movements that are recognisably Hofesh’s work

Identify a few of these key ‘Hofesh-style’ movement motifs and talk about why they are easily identifiable. What are some of the key elements of his movement vocabulary?

Choose a few of these motifs that you really like and, in a small group, weave them into a short phrase you can all dance together

Perhaps you can use these motifs as inspiration to create your own similar movements and add these into your group phrase. Rehearse it so that you are all confident with the material and order of movements

Next look at the floor patterns in the unison groupings in these films. Hofesh is a self-confessed ‘maths & patterns geek’ and often draws the formations of dancers’ travel & transition patterns in a big book when he is creating work

Agree how the group will break into 2 and move to different parts of the space. Decide the pathway these satellite groups will take to reach their new spot. What might their transitional movement be?

Use the close up rehearsal footage as inspiration to find contrasting movements for these satellite groups to use

Can these satellite groups echo earlier motifs from the group phrase and repeat or develop them further?

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DUET WORK

WATCH DUET WORK

There is much partnering and lifting in Grand Finale, which is not always the case in Hofesh’s pieces. This extract is from Act 1. Bruno gives us a little context “With these duets we wanted to explore partnering. We started with the idea of dead bodies…and we wanted to create something a bit funny, a little sad and pathetic. Theses duets gave us the chance to have another view of Grand Finale, which is after all about endings - the end of an era, of society, of a golden age - and literally about death. So that’s where we started with these duets…”

Hofesh gives us some further thoughts “There is something I really like about the way that we get to experience the body completely lifeless. There are things that I find incredibly beautiful actually - you get to see how a body turns around. There are things that I find completely undignified, which I also quite like in a way. There is certain feeling of respect towards the body, trying to do something beautiful with it.”

Set, music, pounding percussion and dancers’ bodies soaring high – the apocalypse of Grand Finale shakes the compass of tribal dance. A must see.” LE MONDE

DISCUSS

What is going on in these duets? Talk about the roles of the male versus the female dancers. Where is the dynamic of power? How might that change if the male and female roles were reversed? What movement skills and physical awareness would the person dancing the female role need, in order not to be a dead weight and risk injuring their partner? Similarly what skills and physical awareness would the person dancing the male role need in order to perform this duet safely? This duet requires trust and huge strength, for both roles.

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WATCH DUET WORK

PRACTICAL TASKS

In a space with a partner decide on your starting roles – the mover (male role in the footage) and the moved (female role in the footage)

Start to experiment with movement that is instigated by the mover and affects the moved

In Grand Finale these duets take place on the floor, but we’d suggest both dancers starting from a standing position to establish balance and trust

Keep things simple to begin with – the mover focuses on a body part to move

Mover role – keep your signals really clear, use the palm of your hand so the cue you give your partner to move them has clarity and doesn’t just feel like you’re prodding them with your fingers!

Moved role – you need to respond honestly to the stimulus. For example is your partner moving your leg from behind your knee? Or is the signal to move directed from your lower back?

Spend 5-10 minutes simply playing with this idea; take it in turns with the roles so you each get the chance to be both the moved and the mover

Can you take this idea down to the floor? Refer back to the footage for inspiration. Note how this changes the nature of the movement

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UNISON WORK - RAVEThis extract is from Act 1 is known as Rave by the company.

WATCH RAVE IN REHEARSAL

WATCH RAVE IN PERFORMANCE

The Year 10 Dance students at King Edward VI School in Suffolk, used this footage as a stimulus to create a piece of work. Here their dance teacher Helen Frost explains how the lesson went. “Wow! I think I have just had one of the best GCSE lessons ever today. We played with ideas from the footage and the ideas just flowed...We kept layering and layering different movements. At the beginning they were a little nervous and by the end of the lesson they were clubbing away with the music so loud - I loved it!”

Hofesh’s choreography allows the dancer to let go, leave the controlled stylised forms of dance behind and invite the whole body and mind to transcend into the powerful realm of human expression. We love using his work as inspiration and stimulus!” ELAINE VANNER, HEAD OF DANCE,

HELENSWOOD ACADEMY, ONE OF OUR PARTNER SCHOOLS

PRACTICAL TASKS

Use the same footage extract they worked with as inspiration to create your own rave unison phrase in a group of 5 or more dancers

Here are some of the images and words Hofesh and Bruno gave the dancers when this part of the piece was being created: sacred, spiritual, passion, indulgent, losing, freedom, power, and dancing in a cave/dark room. Use these words to give you images and context for this task

Find a good clubbing track with a strong, fast pulse to it

Choose 3 or 4 of movements from the footage that really appeal to you and put them in any order. Rehearse this phrase with your chosen track until you are all comfortable performing it

Next each member of the group can contribute their own rave-style movement to be added onto the phrase. This can be something you do when you dance at parties/in clubs, or something you create inspired by the footage of the dancers here

If you want to develop this phrase further add some ‘call and response’ canon, with half the group dancing a few counts then the other half of the group ‘answering’ them with similar or developed movement

Very quickly using these simple ideas you can build your own Grand Finale-inspired rave phrase. Upload your rave phrases, tag @HofeshCo and we’ll be sure to give you a shout out!

One of the dancers, Yeji, shares her thoughts about this section

“This part is called Rave and as you can see from the name it is one of the most powerful parts of the piece. The music and simple movement in the beginning help us to connect into our own indulgent dancing! While repeating the same steps, you just start letting your mind go – let your body be led by the music, and just go with flow in the moment. It feels spiritual for me. However once the choreography begins it becomes very passionate and powerful. You don’t think too much, just be free and enjoy yourself, music and people in a dark space.”

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DISCUSSING THE WORKHere are some ideas for discussion around the themes and content of Grand Finale. Some are best suited for discussion after you’ve seen the performance. Others work just as well without seeing the piece live.

MOVEMENT CONTENT & THEMES If you saw the work on stage…what were your impressions of the first 5 minutes? What atmosphere did Hofesh create for us? Could you describe it in 3 words?

Bruno refers to Grand Finale as “an exploration about endings…the end of an era, the end of a golden age, the end of society.” If you saw the piece, did that resonate with you?

WATCH RAVE IN PERFORMANCE

Research the rave culture of the late 1980s and 1990s. Where did it begin? Did it have leading voices/musicians/DJs or was it more organic and slow to emerge? Look online for some rave dance movements from the 90s clubbing scene. Find somebody to talk to who remembers the rave culture of this time. Explore other dance clubbing genres (vogue-ing for example). Is there an equivalent club culture for young people today?

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WATCH THE HAKA GROUP UNISON, ACT 1

The haka provides a rich stimulus for movement creation. Research what this ancient and sacred tradition means to some people. When is it used? What does it symbolise? Company dancer Yeji gives us some imagery to think about here “This whole ‘haka’ section demands heavy physicality from us. Every dancer must stand strong. We begin with a simple change in posture…the movements and stamping feet are very rhythmical. It’s a harmonizing of courage and fatigue. All this is accompanied by shouting – it feels like a dance before going into battle. Feelings I connect to when I dance this part are strength, power, courage, prowess.”

Can you brainstorm other words that come to mind in this part of the work?

Hofesh tells us “If I’m going through something painful, you’re coming with me.” Did you find Grand Finale painful to witness? If so, why did it make you feel like this? What moments lifted the mood for you?

“It’s very fun. There’s something endless about the rolling apocalypse” Hofesh tells us. “…like a sinking ship that never actually sinks – you get into a party feeling.” What did you find amusing in this piece? Why did it make you laugh?

The writer and performance critic David Jays writes that, “Dance clearly impacts heavily on Shechter. But do politics impact on dance, and can dance change the world?” How would you respond to this question?

At certain points in the piece you may have noticed the dancers making open-mouthed expressions. Ming explains further, “The idea came from playing around one day. Bruno was messing about with faces, Hofesh found it interesting and asked us to all try it.” Did you notice the dancers had their mouths wide open? What do you think this facial expression symbolised, in the context of the piece overall?

“An epic fresco of body and emotion - Shechter is the king of dramatic contrast.” La Croix. Discuss the contrasts, both visual and thematic, at play in Grand Finale.

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DESIGN

WATCH WALLS

Discuss the visual setting in this clip.

What can you see? What does it make you think of? How does Tom Visser’s lighting design affect what you can and cannot see in this extract.

Tom Scutt, the designer for Grand Finale, calls these huge, moving structures ‘walls, monoliths, totems…’. What other images or words did his design conjure up for you?

In his interview Tom tells us that, “…we talked about how walls seem to be a thing that embody metaphorically so much that is going on in the world at the moment. So we started playing with that….” What world events might he be referring to in 2017? Can you think of other periods in world history where walls were symbolic of something?

Walls – create boundaries, safety, territory. They also create division, fear, hostility. Discuss the theme of ‘walls’ in relation to Grand Finale, and the metaphors they offer us. Can you think of any images of these walls that stayed with you after you’d seen the show?

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MUSIC

Hofesh tells us “I want the musicians to exist in their own bubble…whilst the chaos is happening around them, whilst the world is falling apart, whilst the titanic is sinking, they are the band, they are the ones that just keep the humanity, that keep the simplicity, that keep the beauty. No matter what happens on stage - people die, come back to live, go insane - you know there is beauty…” Discuss how this band of musicians is the heart of the piece in some ways.

Chris Allan, one of the musicians, tell us in his interview that, “The idea that the ‘band plays on’ is a strong element - the show closes with the same material as the beginning, it is like a living breathing continuum….We are a living entity in the midst of chaos.” Discuss the relationship between the music and the dance in Grand Finale, and between the musicians and the dancers. Did they interact with each other, or exist in separate bubbles?

“For me this piece has music that feels wide – some electronic, some classical, some voices. It doesn’t make me feel heavy. There is beauty and passion in the music he’s played us so far…” Ming, dancer, reflecting on Hofesh’s score during the creation period. What musical genres did you notice in the Grand Finale score? Discuss the breadth of the soundscape created by Hofesh.

A question from Grand Finale Producer, Niamh: “There are moments in the piece where the dancers are seen kneeling ’nose to wall’ - what’s your personal interpretation of these scenes? How did these scenes make you feel?”

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BEHIND THE SCENES“Grand Finale will tour to many different towns, cities and countries during its life. We love touring. it allows us to share our work with people from all nationalities, and their responses feed our creative process. Contact with different cultures, dance scenes and venue programmers across the world,inspire us a lot.” HENNY, EXECUTIVE DIRECTOR

LIFE ON TOURWhilst it may sound glamorous, the reality of a touring life can be less so at times – long travel days and much waiting about. However the pay off is travelling to many different countries, meeting new audiences, and making the most of the local sights on well-earned days off. Join us behind the scenes, in this company photo album, taken from the first few dates of the 2017 European premiere tour of Grand Finale.

“I’m looking forward to seeing Athens again - and Oslo (I’ve never been there)…..and I always love the energy of New York. I’m pleased that most of the trips are fairly short…I am married with two daughters - and I’m a home boy at heart so I miss my family when I’m away.” CHRIS,MUSICIAN

“I hope this Grand Finale will stir something in the people watching; I hope they can connect with what’s happening on stage one way or another, that it makes them think, reconsider and loose a sense of time while watching.” MEREL, DANCER

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I love the travel, and I’m hugely lucky that my work takes me many wonderful and exciting places I’d never normally get to see. I also love combining visiting a new city with actually working in it - a heady mix of work and play. But I miss my two children, Rosie who’s 11 and Lucian, 8, each time.” REBEKAH, MUSICIAN

I love Hofesh’s work and I really love this company. I never ask myself why I’m still here – it’s in my bones, part of my life. There are so many good memories that we have built as a company over the years I’ve been here. I usually get bored very easily but I’ve never been bored in this job.” MING, DANCER

I like people-watching, in cafes, train stations, airports - and because part of my job is to watch audiences enjoy the work and express surprise, shock, elation, exuberance or whatever emotion they’re feeling, I spend a huge percentage of my time doing something I truly enjoy.” NIAMH, PRODUCER

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I’m looking forward to sharing the work with my family and the audiences on tour. And of course the holidays will be nice as well!” RACHEL – DANCER

Life on tour requires a LOT of logistical planning from the office team in preparation – pre-arranging travel, accommodation, per diem payments, and the creation of a Tour Book for each member of the touring party, (ie. all the performers, crew, Tour Manager & Producer). This Tour Book holds all the information they will need for each trip including maps from the hotel to the theatre, useful local numbers, any tour workshop details, all travel information and daily schedules. Once the cast arrives safely in a tour date city and have checked into their accommodation, and had an evening off, they will head to the venue the following day. The technical crew will often have arrived a day or two in advance in order to undertake the Get In, where the stage is prepared (dance floor laid, lighting rigged and focused, set installed) for technical rehearsals.

There are many people to manage through these technical rehearsals, so this is where the work of a Stage Manager becomes vital.

Q&A Leon, HSC Stage Manager, shares his pathway into this role, tells us what his job is all about, and shows us an example of the type of schedule he needs to draw up at the end of each day

How did you become a Stage Manager?I did Drama and Theatre Studies at Middlesex University. It was a modular course, which meant you could tailor it so you could do performance and technical aspects for your own projects. It was a really good fit for me because it was everything hand-in-hand. After University I was looking for ways to get more technical experience and started working at The Place and that was the route that led me to working in dance in a technical capacity. At The Place you have to do lighting, sound, stage management - you have to be an all-rounder. Working on the Place Prize where you have to work on 4 to 5 pieces with only a 40 minute turnaround in between has given me a good background and prep for working on Grand Finale.

Does your job as a Stage Manager vary a lot?Yes! I manage all aspects of the stage - the dance floor, the dancers, setting marks so everything is in the right place at the right time for the lights, making sure the set is built, covered and rolling, scheduling with Hofesh, Bruno and the Technical Manager. I support rehearsals, technical rehearsals and dress rehearsals. For Grand Finale we’re a team of 6: a re-lighter, a sound engineer, a stage manager, a technical manager, a deputy stage manager and a technical intern. We also have local crew helping us, and often local wardrobe support. You need a degree of flexibility to do this job - overseeing everything whilst diving into the detail and being very hands on.

Could you describe a typical day touring with Grand Finale and your role on the production?Well it starts before we go to sleep the night before! So far I’ve not had a typical day because we’ve been through 3

phases; creation into technical rehearsals and then into the tour. It’s always about what you’ve got to do first to be ready for the next day. A show day is based on what comes before it. If you’re getting into the theatre you’ve got to make sure everything is prepped so you’re ready to go at 9am and to work through until 10pm. The show is quite big so we try to make things as streamlined as possible. We are the ones that are helping guide the venue crew, so we have to look at the bigger picture. If it’s a rehearsal day it will be about preparing the space, being in before the dancers and musicians, (generally we’re always in before the dancers and musicians), ensuring everything is set up for them – swept, mopped, things out of the way. Then facilitating the rehearsals, making sure that everyone knows what is happening. Part of stage management is being a bit clairvoyant; it’s about being aware of what’s going on for everyone. When it’s a show day, there will be notes from the day before. There will always be something to prep. We have musicians in the show that have very expensive instruments so there are daily things that we need to do with them to make sure they can do the show, such as battery operated lights for them and a safe space for their instruments. There’s always a pre-set for the show so everything is in place for when it’s needed and in the same place every time. It’s about being proactive and one step ahead, so things are set up ahead of Hofesh arriving. Time keeping is a big part of the job. I have a running joke with people about how I spoil their break by letting them know how little time they have left! You’ve also got to check in with the mood and well-being of the company because everyone has got to work together. When you’re working long hours people get tired and you’ve got to help them to manage things.

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There’s always a schedule to prepare and send out. Ideally as soon as possible so people can get their affairs in order and be ready for the next day. I prepare this it at the end of the day once Hofesh or Bruno are clear about what they want to do the following day. I sometimes have to send out rehearsal notes to everyone, plus show reports to all the appropriate people after a show, letting people know what went well and what might need attention.

How closely do you work with Hofesh and can you describe your working relationship?It varies. He’s quite self-sufficient. Some choreographers don’t know anything technical at all, but he’s different - he has a very clear idea of what he wants for everything, and he’s also the sound designer as well, so he’s always got a keen eye on all aspects of his work. Sometimes he won’t ask for things, and that’s where being intuitive as a Stage Manager comes in and I have to notice that he needs things. Like I said, my job is like being a clairvoyant as well as a personal assistant to the show itself!

Tell us something that you appreciate about your jobHofesh has got a very keen sense of humour. He’s often on the cans in a different language or a different accent. He has got about 3 different nicknames for everyone in the company depending on which language or accent he wants to speak in that day. I really appreciate this. It makes the long working days much more fun! Understanding his sense of humour and his way of working, which is methodical, highly detailed but at the same time free and easy (a weird contradiction) is important. So getting to know which mode he is in is beneficial for my role.

Here is an example of the type of schedule I’d be emailing in the evening, preparing the company on and off stage for the day ahead. This one is from our production week in Plymouth, ahead of the premiere.

5 behind-the-scenes facts about Grand Finale…

• I walk over 20,000 steps on a Grand Finale Get In day • There are 131 marks on stage to help us position the walls during the show • There are 165 lights in the Grand Finale lighting design • The haze we use on stage requires 13 fans to regulate it – 4 at stage level & 9 above • We tour with 11 bubble machines…

SCHEDULE | 27.05.2017 | LYRIC THEATRE, THEATRE ROYAL PLYMOUTH

9.00 - 11.00 Technical work as required All Crew @ Stage10.00 - 10.50 Warm up in Theatre Foyer Dancers @ Level 2 Theatre Foyer10.50 - 11.10 Break / Get into costume Dancers11.00 - 11.30 Get into costume / Mic up & IEM check Musicians11.10 Costume line up on stage Dancers @ Stage ACT 1 - Mickaël new costume suggestions11.30 - 14.00 Technical rehearsals All @ Stage13.00 - 15.00 Split Break Local Crew14.00 - 15.00 Lunch All15.00 - 15.15 Get into costume Dancers & Musicians15.15 - 18.00 Technical rehearsals All @ Stage18.00 - 19.00 Dinner All19.00 - 19.15 Get into costume Dancers & Musicians19.15 - 22.00 Technical rehearsals All @ Stage22.00 Company out of costume Dancers, Musicans, Crew Technical power down / Clear stage

PLEASE NOTE: Tea Breaks and Meal Breaks are subject to change

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Q&A Andrej: RelighterTranslate your job title - what does it actually mean?Realising the vision of the lighting designer and Hofesh on tour.

What does a working day entail for you?Rigging and focusing lights with local crew mainly, going through the lighting plot and adjusting levels.

What is the most challenging part of your job?There is never enough time….and trying to squeeze the show into smaller venues!

Most rewarding moment of your job?Seeing standing ovations at every show makes you feel very proud of the whole team.

MEET THE TEAMNow that you’ve explored the piece from the inside, met some of the dancers and collaborators, and heard from Hofesh let’s meet the half of the company who remain mostly invisible to you when you come to watch one of our performances. Here members of this ever growing HSC team, who were all part of the Grand Finale journey in 2017, explain what their job title means, what they actually do, and how their work contributed to the birth of this large-scale piece of theatre. As Hofesh often says…”without the team….no show!”

Adam: Head of Production & TouringTranslate your job title:I oversee all the technical (lighting, staging, costumes and sound) and touring (travel, accommodation, company welfare whilst on tour) elements for the company.

A working day:I can be either at the office, on site visits, in a venue or out at meetings. Generally I’m managing our future projects, budgets and schedules, although sometimes I will be working on a current performance.

Most challenging part:Creating a budget for the unknown.

Best part:I come from a freelance background, often working alone to prepare for an event, so it’s just good to work as part of a team with nice people.

Bruno: Associate Artistic DirectorTranslate your job title:My role is to take care of the artistic side of the work, ensuring the integrity of Hofesh’s pieces, and acting as the face of the company for venues and bookers on tour when Hofesh is unable to be on the road with us. I am involved in the dancers’ coaching, casting, auditions, the creation process of each new piece, post show talks, interviews with the press, as well as attending planning meetings with the team and spending time in the office for scheduling.

A working day:On tour, it involves ensuring there is a dancer scheduled to lead company class at the start of the day, running on-stage rehearsals and giving the dancers notes, checking the technical crew (ours and also the crew at the venue) are all happy. I liaise with either a Tour Manager or our Stage Manager through the day, concerning the daily schedule and everyone’s needs. I speak a lot

with our Technical Manager/Director and Relighter, giving notes for lights and sound as well. I generally try to support our dancers and crew to pull in the same direction to get the show up on time, with our highest production standards. I will watch the show from out front and make notes to share with the dancers to work the next day. If there is a post-show talk/reception after the show I’ll be there to chat and meet people.

Most challenging part:Managing people, keeping everyone happy and on track. Being inspiring and encouraging but also knowing how to adapt to each dancer’s needs to get the best out of them.

Happiest moment:Performing Political Mother: The Choreographer’s Cut at Brixton Academy in 2015. Such an iconic rock & roll venue, and huge noisy crowds. It felt like a real event, and a true company effort, from the dancers on stage to the crew to the office team. I’ve been performing for years but this was a really exciting experience personally.

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Colette: Administrative Director Emily: Assistant Producer (previously Administrator)

Translate your job title:Strategic Business Management across a wide and varied spectrum with a focus on planning, producing, maintaining and building key relationships, supporting the team and our artists, alongside a lot of number crunching.

A working day:I find my bus stop in the morning is the perfect place to check emails and make sure there isn’t anything that needs to be dealt with immediately and I also like to get a sense of what the day may bring. I am very often speaking to people worldwide so it’s amazing how many emails can be waiting for me by the morning. My day usually takes me to the office first where I can be dealing with contracts, touring negotiations, commissioners, restaging works on outside dance companies, HR issues, financial accounting or juggling our complex schedule. And then I could also be off to the dance studio to meet our dancers’ rep, see the new creation progressing or watching a sharing of our participatory programme. It’s really

important for me to engage with the live work as often as possible and see the impact on our participants, audiences and key stakeholders. Occasionally I’ll take in an evening show -either theatre or dance.

Most challenging part:Accomplishing more than two things on my list in a day and keeping on top of my emails.

Most rewarding moment:I have such a bad memory for this type of thing but I wouldn’t still be here after almost 10 years if there weren’t a lot of funny/happy and rewarding moments! The people and the work are a big contributor. Plus I feel it is a necessity to add humour into my day, over sharing funny stories in the office and laughing with friends and colleagues.

Translate your job title:I’m the person who supports all the different areas of the company; at HSC this includes our new creation and production, touring, communications and marketing, technical, participation, fundraising and finance.

A working day:Normally I’m quite desk bound, however last week I had a crazy time out of the office as we are in the creation period for Grand Finale. We had an internationally acclaimed photographer Rahi Rezvani shooting the production images. I was helping organize airport transfers, accommodation, ordering the equipment for the shoot and keeping up to date with office admin whilst in the studio assisting on the shoot. The next day I was at Jerwood Space at 8am to help Adam lay dance floor, and set lights for a rehearsal and supporters’ event that evening. No two days were the same last week…

Most challenging part:I think because my role and responsibilities are so wide and varied, supporting so many different departments, I sometimes find it hard to prioritise the importance of each area. The company operates at its best when all the different areas are working at the same level, in productive collaboration with one another. When this is so, together we make one quite small but powerful team.

Most rewarding moment:Eek I don’t know…well a selfish one would be when I was asked to stay on full time as Administrator, after my fixed term contract as Projects Administrator had ended. And I’m soon to start a new role as Assistant Producer – really exciting! Another rewarding moment was when a mother who came and saw her daughter perform at our Professional Intensives course gave me wonderful feedback about what we offer dance students.

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Eva: Development & Operations Administrator (previously Company Intern)Translate your job title:I’ve been reporting to Sam, Head of Development and Communications, helping with everything that’s on her plate. This includes researching prospective funders, contributing to funding applications and organizing first-night parties and cultivation events.

A working day:My day is very desk-based and involves a wide variety of administrative tasks. These vary from being focused on data in spreadsheets, helping with a funding application and carrying out research. There are also emails to respond to and team catch-ups to attend! While Grand Finale was in creation we spent a lot of time preparing guests lists and communications for the premiere, but also had to look ahead and source funding for other projects in the future. It can feel like you’re living in two years at the same time!

Most challenging part:Not being in the office every day! My internship is only a two days a week role, so things can move quite quickly and projects may have changed and/or evolved considerably by the time I come in a week later. This is a challenge, but it’s also fun and keeps me on my toes.

Best moment:Watching Grand Finale in Paris and seeing the amazing audience reception and standing ovation. Having spent 3 months ‘behind the scenes’ it was great to see the finished product live on stage.

Henny: Executive Director

Translate your job title:I run the organization with Hofesh; he takes care of the artistic side and I look after the strategic and business side.

A working day:I spend time meeting with partner theatres, producers and commissioners to build our programme of work, often several years in advance of the shows happening. I meet with funders and donors, and I manage our relationship with our major funder, Arts Council England. I spend time catching up with my Board and with colleagues, maybe chairing an internal planning session, and if I am lucky I am able to spend some time in the studio with Hofesh, talking about his creative plans and dreams. My role is to put in place the building blocks to make those dreams happen.

Most challenging part:Inevitably my role involves balancing priorities, for instance between artistic ambition and finance or staff capacity, which can sometimes be a challenge.

Most rewarding moment:It’s still to come! I’m really looking forward to the opening of Grand Finale, as it’s the first of Hofesh’s shows that I’ll have worked on from start to finish.

Fionna: Executive Assistant

Translate your job title:Primarily it’s diary management for Hofesh and the Executive Team, liaising with the Board of Directors, and confirming all travel arrangements and schedules for Hofesh.

A working day:All of the above, as well as managing the logistics for all of Hofesh’s Independent projects and restagings of his work internationally.

Most challenging part:Ensuring that Hofesh has all the necessary information at hand for his incredibly complex work schedule to run as smoothly as possible.

Best moment:Was having the entire auditorium of the Metropolitan Opera House, New York as my office for a week when Hofesh was working on Two Boys.

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Hofesh: Artistic Director

Translate your job title:I choreograph and compose the work. I’m like the chef in the kitchen – lots of things bubbling in pots and it’s my job to make this huge tasty soup for everyone (the performers and our audiences) to hopefully enjoy, or be moved by in some way.

A working day:That’s an impossible question! Honestly no two days are the same…. When I’m making a piece (either for my own company or for other companies who commission me to make work with them) I’ll be studio-based all day. Within that day I’d be creating, but also squeezing in meetings with collaborators, and the off-stage team. I spend a lot of my time travelling – so yes that’s a LOT of time in taxis, airports and hotels…

Most challenging part:I can’t complain, I’m in a privileged position to have the chance to make my work on this scale. But hold on…let me complain a little! I find it hard to give people I work with the time I’d really like to give them.

Happiest part:We laugh a great deal in the studio - it’s important to keep a perspective because at the end of the day it’s just a bit of dance, while the world creeps into chaos around us…so anytime we can be together, making juicy movement, laughing and finding our funny bones, is when I’m at my happiest. Also, that sweet spot when I’ve just made a piece of work and it has premiered…is when I am furthest away from the stress of my next piece of work. My brain slows down a little then…just momentarily…and that’s a happy feeling and very rewarding too.

Leon: Stage Manager Translate your job title:I organise the lives of 10 dancers, 6 musicians, 1 choreographer and 1 Associate Artistic Director on a show day, having prepared the stage, theatre and dressing rooms for their arrival, providing all of the above people with everything they need to smash the show out of the park. Meanwhile in the background I run around plugging logistical holes with the rest of the technical team so that the crew are also smashing it out of the park. Plus laundry and pastoral care.

A working day:Getting into the venue, getting the dance floor down, marks for the walls measured and placed correctly, space totally masked and blacked out, costumes ready, dressing rooms ready and all of backstage darkened or lightened so that its not too light on stage but not too dark back stage.

Funniest moment:I was onstage in Grand Finale in Stuttgart recently because something had stopped working or come loose but I had a cue the other side of stage in the next section. I couldn’t exit because I would be seen by the audience so I did a 5 metre dash in the 1 second black out that was coming up, thanks to lighting team cueing me. I couldn’t see the exit until I had gone past it because of how much we reduce the light spilling on to stage from the wings and for a moment thought I would be stranded in plain sight on stage. I made it though.

The other funny moment is always having a craving for chips in the interval because we clean the bubble fluid away with vinegar!

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Lee: Administration and HR ManagerTranslate your job title:I work across the organisation, contracting dancers and office staff, and managing the company office, insurances, and IT. I plan and manage all of the company’s auditions and obtain official documentation - UK and foreign visas - for our tours. I also manage the dancers’ Health and Wellbeing Programme, help with scheduling of projects and research and develop project propositions and contribute towards administrative reporting. I sometimes tour manage for bespoke projects for the company such as our performance at Latitude Festival.

A working day:It really depends on the flow of the company’s schedule. I could be doing anything from organising physiotherapy or training sessions, planning an audition, researching a possible tour date, attending the Arts HR Working Group or applying for visas for one member or all of the company. There is always something to do!

Most challenging part:Trying to make sure that everyone feels valued within the company from the dancers through to the office staff. We have a great team who really believe in the value of what we do and we are always busy. As an ex-dancer, I know how an injury can make you feel low, so I try to ensure that our dancers are seen quickly by a medical practitioner when injured, this can often calm an anxious mind and help the positivity flow again.

Funniest moment:When moving offices Colette (our Administrative Director) dared me to get into a removal crate in the office and sealed it up. I then scared the rest of the team when I jumped out as she filmed me. Not your average Friday afternoon in the office! #boxboy

Lucy: Artist Development (previously Participation Producer)Translate your job title:I oversee our Participation programme – which ranges from Grand Finale tour workshops in schools, to repertoire courses for professionals, to longer projects in dance schools and organisations all over the world. A big part of my job is building & nurturing partnerships – with schools, dance conservatoires, venues, and dance organisations, as part of our long-term company vision and strategy. I’m soon to start in a new role as Producer – Artist Development, where I will get to work with our new Head of Participation. I’m so excited about this opportunity.

A working day:My day usually involves at least one meeting, often more. I might also need to visit one of our participation partners – be that a dance conservatoire or a school. I write all our education resources so that’s kept me busy these last few months, interviewing collaborators, chatting with Hofesh, the dancers and the team. I work very closely with Melanie, who puts all our participation planning into reality, so I’m in conversation with her often.

Most challenging part: It’s probably scheduling - the juggle of making sure we deliver a far-reaching & diverse programme of engagement whilst not exhausting our wonderful dancers who work so hard for the company. Oh and excel spreadsheets….yeah I pretty much hate them.

Best part:This will sound cheesy, but honestly the best part of my job is the people I get to meet – a group of A Level Dance students on a backstage tour before our show, a work placement student, older dancers in their 70s and 80s on a restaging project, vocational dance students we work with regularly, and all the wonderful teachers – GCSE, A Level, and beyond - who I get to meet, plan and deliver with. And of course working in this company of warm, funny, generous folk…I consider myself very lucky.

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Melanie: Company & Projects ManagerTranslate your job title:I work across marketing, learning, producing and touring. The role is very broad and acts as a connector between different teams.

A working day:It really does vary from day to day. You’ll find me either at my desk in London or out with the company in the UK or overseas. I could be doing anything from booking a week-long residency in Los Angeles to briefing a photographer for a press call. Yesterday I was mostly moving numbers around to make sure we hadn’t overspent on certain budget areas for Grand Finale. Today I’m looking at the schedule for our apprentice company Shechter II, working on contracts for our musicians and planning our outreach work in Canada.

Most challenging part:Saying no politely. Managing people’s expectations. Pulling together differing opinions to form one coherent thought or decision.

Best part:One of the great things about working in the arts is that you can share what you do with the people you love. Not all jobs allow you to do that, or at least not with something that they can really enjoy! Some of my happiest moments are seeing Hofesh’s work with friends and family, particularly when we performed at the O2 Academy Brixton.

Niamh: ProducerTranslate your job title:It’s largely focused on planning and delivery of the company’s new productions. I help to create the life story for each new production by building relationships with venues and partners, booking tour performances, talking about the work, introducing it to new people and making sure that the work gets seen by the widest possible audience around the world.

A working day:A typical day doesn’t really exist to be honest, as it looks very different depending on which stage of a creation process Hofesh is in. During creation periods, I spend a lot of time in planning meetings and conversations about elements of the production with Hofesh, Adam and the creative team. I feel so privileged to be able to spend time in the studio and watch things grow step by step during these periods. When a show is up and running, I focus much of my attention on its future life and tour

strategy for the piece. I often tour with the company, so I work remotely a lot. When I’m on tour, I take time to catch up with presenters, promoters and venue directors and discuss plans and ideas with them. As the company schedules so far ahead, we are always in planning mode for the next exciting opportunity to present and promote Hofesh’s work.

Most challenging part:Dealing with the number of timelines and deadlines, which are constantly rolling when booking and promoting the work on tour. I’m always trying to spot potential areas of complexity and challenges both in production and tour planning and meet them head on – or better still catch them before they land whenever that’s possible!

The funniest part of my job…Trying to get to grips with new languages when on tour. I had a lot of fun trying to pronounce the word “caña” in Spanish with Bruno’s tuition, which ended in hilarity and is regularly used to poke fun at me!

Sam: Head of Development & CommunicationsTranslate your job title:I raise money for the company from trusts, foundations, corporates and individuals. I create bespoke events for our supporters to ensure they remain engaged with the company when our productions are on tour internationally.

A working day:A typical day might include going to meet a supporter to update on company activity, writing a fundraising application to a trust, and meeting with colleagues to discuss budgets and timelines for one of Hofesh’s projects.

Most challenging part:There are lots of different facets to my job, so I have to be super organized, and plan well ahead – especially when I need the input of colleagues who are just as busy as me!

Best/most challenging moment:The first time I watched Hofesh in rehearsal with the dancers for Grand Finale was pretty special. Also unpacking our new office, and trying to assemble very tall cupboards with Emily was simultaneously challenging and hysteria-inducing.

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SUPPORTING INFORMATIONLINKSHofesh Shechter Company

HOFESH.CO.UK HOFESHCO

More information about the company, and Hofesh’s biography: www.hofesh.co.uk/about-us

Grand Finale trailers and photo gallery www.hofesh.co.uk/productions/grandfinale

Vimeo channel, all footage of Grand Finale used in this pack can be seen here alongside additional footage of Hofesh discussing the work www.vimeo.com/user9326973

Sign-up to our newsletter to be the first to hear our news www.hofesh.co.uk

Hofesh is an Associate Artist of Sadler’s Wells www.sadlerswells.com

Hofesh Shechter Company is a resident company of Brighton Dome www.brightondome.org

Hofesh Shechter Company is one of Arts Council England’s National Portfolio Organisations www.artscouncil.org.uk

Research ResidencyJanuary 2017 Villa Nappi and Teatro delle Muse www.villanappimarche.it www.marcheteatro.it

Production Residency & Previewswww.theatreroyal.com

World Premiere14 June 2017 at La Villette, in partnership with Théâtre de la Ville www.lavillette.com/en www.theatredelaville-paris.com

Useful organisations One Dance UK – the UK body for dance www.onedanceuk.org

UK Centre for Advanced Training www.nationaldancecats.co.uk

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TAKE PART OPPORTUNITIES

Taking part has always been at the heart of our company’s activity. We work with a wide range of people in diverse settings across the world to deliver inspiring encounters with Hofesh’s unique style. We provide a range of learning opportunities for schools, colleges, venues, dance houses, and youth and community groups lasting from two hours through to week long residencies, or even long-term partnerships. Led by members of the company, our dancers draw on Hofesh’s methodology to help participants find their way into the four themes that underpin his edgy, urban movement vocabulary: Energy & Emotion; Groove & Rhythm; Floorwork; and Totality.

The students were buzzing about it all the way home. It has to be one of the most thought-provoking days they have experienced, which resulted in it being one of the most discussed!” HELEN FROST, DANCE TUTOR & SUBJECT

LEADER, KING EDWARD VI SCHOOL,

SUFFOLK (PARTNER SCHOOL SINCE 2014)

Workshops Workshops consist of a warm-up class to introduce the movement style and prepare the body followed by an exploration of repertory, where participants will learn short extracts from one of Hofesh’s works. Workshops can last from two hours to a full day (five hours).

Residencies Residencies are an ideal opportunity for groups who wish to gain a deeper understanding of Hofesh’s style. Lasting from two days to one week, participants experience a daily warm-up, a series of creative tasks and learn longer extracts from Hofesh’s works. Residencies can culminate in the creation of a short piece suitable for an informal sharing.

Re-staging Projects We often work with vocational training schools and junior companies to restage an extract from one of Hofesh’s works for performance. This type of project requires two to three weeks of students rehearsing with us, whilst being released from their regular timetable. Restaging work is usually led by two company dancers who are joined by a member of our technical team during the production and performance period. Past bespoke experiences have included lecture demonstrations, behind the scenes tours, audition skills, feedback on performance work and delivering aspects of university modules.

To discuss your needs or to book any of our participation opportunities, please contact our team on 020 7089 9473 or email takepart@hofesh.co.uk

For more information visit: www.hofesh.co.uk/take-part

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HOFESH SHECHTER COMPANYBOARD OF DIRECTORS Robin Woodhead (Chair 2007-2017), Gerard Lemos (Chair from 2017),Theresa Beattie, Jules Burns, Sarah Coop, Jason Gonsalves, Andrew Hillier QC, Karen Napier

SHADOW TRUSTEESVictor Fung, Rob Jones, Beth O’Leary

PATRONSAngela Bernstein CBE*, Robin Pauley*, Georgia Rosengarten, Bruno Wang* *Founding patrons

Hofesh is an Associate Artist of Sadler’s Wells and Hofesh Shechter Company is Resident Company at Brighton Dome.

Hofesh Shechter Company is supported using public funding by the National Lottery through Arts Council England.

The Company also gratefully acknowledges the support of the Harold Hyam Wingate Foundation, the Foyle Foundation, and the Esmée Fairbairn Foundation.

Registered address: Hofesh Shechter Company Ltd, 12A Pavilion Buildings, Castle Square, Brighton BN1 1EE

HOFESH.CO.UK HOFESHCO

Registered in England Number: 6737326. VAT Registration: 946 1324 27. Hofesh Shechter Company is a registered charity in England

and Wales. Registered No: 1130255.

STAFFArtistic Director: Hofesh Shechter

Executive Director: Henny Finch

Administrative Director: Colette Hansford

Executive Assistant: Fionna McPhee

Associate Artistic Director: Bruno Guillore

Senior Producer: Niamh O’Flaherty

Head of Development and Communications: Sam Morley

Head of Production and Touring: Adam Hooper

Head of Learning and Engagement: Clare Lovett

Producer – Artist Development: Lucy Moelwyn-Hughes

Assistant Producer: Emily Gatehouse

Touring and Communications Administrator: Thomas Holloway

Development and Operations Administrator: Eva Brady

Finance Officer: Denise Middleton

Dancer: Hannah Shepherd

Publicist (UK): Clióna Roberts for CRPR

Projects Manager: Melanie Zaalof (Jun 2015 - Jul 2017)

The sports scientists at GJUUM LTD provide our Dancers’ Health and Well-Being Programme www.gjuum.com

THANK YOUHofesh Shechter Company would like to thank our Patrons, and all the individuals who support us, for making such a difference to Hofesh’s work since the formation of the Company.

This pack has been written by Participation Producer Lucy Moelwyn-Hughes in consultation with Hofesh Shechter and Bruno Guillore. Thanks must go to all the following people: Hofesh Shechter Company members on and off stage, who shared their insight and experience of the work; the Grand Finale collaborators for making time to be interviewed, Melanie Zaalof and Yeji Kim for all their additional support and brainwaves, Emma Sullivan for filming and editing, Clare Lovett and Emily Gatehouse for helping to get the pack through its final stages, and Helen Frost at King Edward VI School, Suffolk.

Production photography: Rahi Rezvani

Production trailer: Ed Inglis

Rehearsal photography: Content

Studio trailer: Content and Victor Frankowski

Additional tour and backstage photography: Members of the company.

Films: Emma Sullivan with additional footage by Content and Compagnie des Indes, Paris

Design: Stem Design

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APPENDIX 1: THE BOARD OF TRUSTEESQ&A Like most registered companies, HSC is guided by the expertise of a Board of Trustees. Board member Theresa Beattie explains the role of the Board

How long have you known the company?I met Hofesh when he was an Associate Artist at an organisation where I worked called The Place. I worked on a project called The Place Prize where he won the Audience Award.

What drew you to want to support HSC by becoming a Board member?I worked for the company as interim Executive Director 2015-16, working closely with the Board, Hofesh, the company and the staff team. I wanted to stay involved because I admire the work, the values of the company and the way they engage with audiences and participants. Being a board member is a great way to give back while learning a great deal from the wisdom and experience of Robin Woodhead, the current Chair and the other Trustees. I was delighted to be invited to join as a trustee in 2016.

How many are you in total on the Board? Do you all have different areas of knowledge/specialism?

Robin Woodhead, Chairman of Sotheby’s International has been Chair of Hofesh Shechter Company since its formation in 2008. Robin encouraged the Company’s three founding members: Hofesh Shechter, Artistic Director, Helen Shute, Executive Director, and Colette Hansford, General Manager, to pursue their vision whole-heartedly whilst guiding the Company’s risk management, excellent financial practices and instilling a rigor to all areas. Through his networks, Robin has introduced exceptional expertise to the Company, overseeing the expansion of the Board to six active and skilled Trustees. In 2017 the company introduced 3 shadow Trustees.

Trustees bring specific knowledge and experience, which is relevant and helpful to the company artistically and in terms of the business. For example, while I bring experience of Arts Council funding and of programming dance in several venues, other Trustees include a fundraising specialist, a lawyer, and financial and digital specialists. We meet four times a year to discuss, support, challenge and question the company’s artistic and organisational plans from our different perspectives.

What is the role of the Board?It is the Trustees’ responsibility to ensure the company is sound and fit for purpose, both financially and legally, whilst having the flexibility to support Hofesh’s short and long term ambitions. This includes helping grow and develop the Company’s vital fundraising activity through sharing contacts, making introductions, attending events and donating. We meet four times a year to discuss, support, challenge and question the companies artistic and organisational plans from our different perspectives.

How do you balance the pressures of the company’s & Hofesh’s needs with the reality of running a business?The Executive Director and Administrative Director of the company provide detailed financial, organisational and fundraising plans for us to read before board meetings. They present these to us and it is the responsibility of the board to interrogate and question; it is not unusual to have around ten documents for a meeting. Hofesh writes and presents an artistic report at each meeting explaining what has happened in the past three months and his future plans; the board meeting is an opportunity for him and the board and the producer and administrative director to discuss these. The artistic and business aspects of the company are always examined together because as well as producing fantastic art we have to ensure the business is running soundly. The Art is the reason we become Trustees and, working with the Executive Director and Administrative Director, we make every effort to find creative ways to enable Hofesh to fulfill his artistic vision.

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What qualities do you need to be on a Board of Trustees?To be willing and able to give time, not only to read documentation and attend meetings, but also to help the company to develop relationships, for example with potential donors, and to share our contacts. Trustees ‘go the extra mile’ providing advice and support in-between meetings and advocating for the company whenever they can. They must also be willing to question and challenge the company in order to fulfill their legal role as Trustees.

Can you tell us a little about the Shadow Trustee scheme at HSC – how did it come about and what does it aim to do?We were looking to expand and diversify the Board to add to the skills of existing members, to help us to reflect the diversity of our community in the South East, our artists, partners and audiences, and to bring new perspectives to our decision-making. We were also looking to strengthen and diversify governance and leadership for the wider culture sector, by training the next generation of leaders and Board members.

What advice would you give a young person interested in this type of opportunity?Do it! Being a Board member is a wonderful learning opportunity and a great way to ‘give back.’ Ensure you really admire the work a company produces and take time to find out more before you make any commitment, including observing a meeting before you make a decision. Sit down beforehand with the choreographer and the producer to ensure you understand their artistic and business plans and current position, being sure to find out how your individual perspective, experience and knowledge can help them and also complement the other Trustees.

Q&A Rob Jones, a shadow Trustee, talks about why he took up this role

What is your current job?I am an Assistant Producer for Brighton Dome & Festival.

How long had you known the company before you came onto the Board as a shadow trustee?I have been aware of the company since my student days. This was some of the earliest dance to have real resonance with me and I have been a big fan ever since.

What drew you to want to support the company in this way?This was a unique opportunity to spend time with the company in a completely new way – with the id if you will. The concept of a board to me has always felt like a mysterious far away thing that someone like me could never be part of or hasn’t been in the past. I wanted the opportunity to have a seat at the table, to lend what knowledge and experience I have to the mix and to suck up as much from the people around me in the process.

How would you describe your role as a Shadow Trustee at HSC?Initially it was about taking in as much as possible, trying to get under the skin of how the company operates at it core and then understanding the challenges a Board faces to question and offer counsel to the company. As time moves on this sinks in and you are able to understand the language of the board and in turn contribute to the conversation.

What type of support does HSC offer to you in this role, in order to help you benefit from this opportunity?We are assigned to a mentor on the Board, to guide you through the process and I have already felt supported from company itself to take part.

What particular insight/specialism do you bring to the Board?I bring my programming and producing experience. Ten years of working with projects of scale, participation work and festivals.

What happens at a Board meeting?It all starts before where the Board are asked to prepare and study specific papers/reports/budgets ready to respond to the agenda . Once at the meeting the chair will guide the board through the agenda – it’s a flowing conversation between the company and the board, they can be calm and lucid to slightly more animated and passionate – they are never boring. I guess its like being in the brain of the company and making sure that each major decision it has to make is thoroughly considered from several expert angles.

What advice would you give others looking to engage with an organisation via their Board?Do it! Especially if you feel like it’s not for you or that you don’t belong in a Board room. It’s an invaluable process to get to the core of understanding how companies work. This will definitely equip you for running something of your own in the future.

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APPENDIX 2Q&A Transcript of Hofesh in conversation with dance critic Sarah Crompton, December 2016, London

SC: Do you start with movement? HS: When we start a new creation, certainly no talking for at least a week and just making movement material. It’s about finding a direction; it’s about finding a focus and an understanding, what’s the motivation of the movement? I need to feel that the movement comes from somewhere that I care about. If I don’t care about it then I think unfortunately nor will you. I feel like it has to come from a place where movement interests me and it takes time to find it. There are a lot of habits coming out, and a lot of things that are maybe not me. There is a lot of it coming up and it is a process of finding that direction.

SC: What’s you’re starting point for a piece, what do you go into a rehearsal room with even if you don’t share it with the dancers at that first point? HS: I come with… It’s different with each piece, but I’ll tell you what it is with this piece because now I know. I come with a bunch of sketches of music, a lot of them at a level that is unplayable in front of public, but it means something for me and normally it’s about sound, it’s about finding the right sound that creates a mood and atmosphere, and that’s the first thing. The other thing is a notebook full of ideas and sketches and images, and this is the heart of the piece, of course the music is as well but trying to understand what I actually care about now, what I want to comment on, what I want to try and share with a group of people…that’s in my notebook, and I have to decode it because it’s a lot of ideas, it’s a lot of imagery. I will dig into this notebook, I will dig into my library of sounds and I will try to see what this all means for me, or where can I find power or where can I find something that moves us, that is interesting, that is.. That gives us an angle.

SC: How much difference does it make to your work, that you are a drummer, that’s where you’re starting?HS: I think it is the whole difference, I think it has made a whole difference. I don’t think I could have become a choreographer without being a drummer. I think… I see… I didn’t want to bore you to death…but I see group choreography like an orchestra, like sound. It has to sit together. It’s like a symphony, the movements, whether they are in unison or whether there are different layers of movement and rhythmicality, or in the energy or with the quality. Once you see it all together it makes a very powerful thing and that’s in a way, how I think about choreography, especially when I think about big groups, which you know I love. It’s like something I love doing, a symphony for bodies and I think it very much comes from that musical view, of the score of music, of layers, a layered thing that creates the whole that is a much more powerful thing that is much more powerful than any of its bits.

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SC: And do the dancers, when you’re creating, do they work to the music, and do you make them listen to what you have in your head? HS: Yes they are tortured for hours, so if I find a loop that I like or a sound that I like and it can be as short as “bam bam bam” and that’s it, I’ll be like ‘wow that’s something. I love it.’ I can play it, this is true you can ask the dancers later and they will happily repeat it… I can play it for a week. I don’t hear it, I mean I hear it but it’s just like the fuel, it’s the energy, and if I feel the music is the right energy then I hang on to it for dear life and I just play it in a loop. But there is a place where, I don’t know but some of you might be able to tell that I am quite shy. When we come to create it is very exposing especially with a relatively small group of dancers, we all talk, you know so it’s very revealing. If I have an idea, a lot of times musically, if I have an idea many times I will hide it, so we have the loop and I have some other voices, maybe I will add another bit on it and I will feel a bit embarrassed, and sometimes I hold it till quite late in the process to play. They don’t always know the whole, I film in the studio and I go home and I see it like a film, and a lot of

times I edit, I look at the choreography and I listen to the complete picture of the sound, and I go back the next day to the studio and I don’t play it to them still because I’m still shy. So they’re not always aware of the big picture, I think many time they are completely unaware especially to the structure of the piece and perhaps therefore the whole meaning of it, if there was one… but the connections, you know many times they know when they come in and when they come out… it’s a very weird thing being a dancer. You’re like a solider in an army, you do your bit and you get off stage and you don’t necessarily totally know what’s happening or how it looks from the audience.

SC: I think one of the things that makes you such a modern choreographer... is that you do see the stage in a filmic way. That you don’t just see it as a consistent section of movement, you see it like a movie and you can cut between things and so on. How does that reflect itself as you build the work?

HS: No, not necessarily but I grew up with TV, not with contemporary dance. And I think one of the troubles I had with contemporary dance is that it happens in real time. We are watching films that zap us from one place to another, from one time to another, back in time, forward. And then you watch contemporary dance, and for an hour and 50 minutes if you’re unlucky, you are in one room, with one event. For me it’s a question of how you treat your imagination, and how you trigger the sense of time passing, how you trigger the sense of different location, different places. I don’t necessarily always come to create with this idea, but I’m very much turned on by…connection between different places and different people, different energies, different times, or what might feel like a different time. I think that is a lot of friction in that sense, a lot of tension, and a lot of energies, a lot of emotions. I’m always looking for the interesting connections; in a way being a contemporary choreographer/artist, means that I can use whatever I want, and it’s about putting these things together. It’s hard to say when in the process it happens, but I think anyway my view of things is cinematic.

SC: And you said this really interesting thing earlier, you said that you felt that contemporary dance was still deciding what it’s going to be, and so this is a really interesting moment to be working in it. So what do you mean by that?HS: I think contemporary dance is one of these art forms, where you walk into the theatre, these days, and you have no idea what you’re going to see. It could start with a chorus on stage, continuing to a film, continuing to a live band on stage, continuing to people who are dancing, but even the way they are dancing it could be towards street dance, it could be towards neoclassical, it could be towards kathak. It’s so unpredictable, it’s a privilege, I hope it never settles. I hope no one ever understands what contemporary dance is, it’s the most experimental, crazy, insane art form and in that sense it gives an absolute freedom for usage of text, music, movement, anything visual. I think it’s really amazing.

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SC: So with the new piece which will première in Paris in six months’ time from January, and then come Sadler’s Wells a bit later, how long will it take you to make it, how long is the period of time? And what will be the process?HS: My favourite answer to this question normally is 41 years, more specifically, I am already working for about half a year inside myself, making music. But with the dancers in the studio, it’s a process of about 4 months. I really like working for a very intense period, then not working for a while, maybe we tour the last piece, the dancers forget about it, I have the moment to watch videos, clear my mind, look at things with a different perspective. Then we come back to the studio for another intense period, for a two and half weeks. We will use live music in this new piece, which is something that I have missed actually for about three years. I think it’s going to be quite a large production, and my challenge this time is to use a set as well. Normally my set is the light, so adding another player, but I think set and music is very demanding on the editing of the piece, on the flow of the piece, which I really welcome. So it’s 6 months, maybe it sounds like a lot, maybe it sounds like a little but it flies, and it’s a lot of work to fit in there.

SC: Is that your favourite moment, is that the bit you love?HS: I love it and I hate it, there is such a love, hate relationship here that I just couldn’t explain. There are moments that I find myself enjoying some sort of insanity of the flow and the way things happen and merge and suddenly hearing the sounds and seeing the images and experiencing I suppose for myself the work as a spectator, it is just so exciting. It’s like seeing how something comes out of nothing, the subject of the day, something out of nothing that’s just manic. It’s just amazing and you have countless sleepless nights that are just a nightmare where you are trying to solve it, connect it, you worry, you know there is a lot of pressure that comes with it and I suppose my meditational exercise is to transform the pressure into beauty, into love, you know into something that is powerful and that I can deliver to people. There are many sides to it production-wise; you can get into sticky situations. Yes I like the drive and the adrenaline, and the creativity around it. It’s a very special time, but it’s very intense. I can only do it every couple of years, not any more.

SC: If somebody hasn’t encountered your work before. What do you hope that people take from it? What’s your aim?HS: Ask me on a different day and I will give you a different answer. Today, a sense of perspective. A bit of a mirror, a bit of a reflection and it could be on yourself, or it could be on the tribe that sits around them and that watches the work with them, but a gentle sense of perspective. I think there is something that can be very healthy about perspective. And you need a good sense of humour for it.

SC: Of course you do, especially at the moment.

SC: You’re very interesting (to watch in rehearsal), as you have very specific language. I’ve noticed as you always talk about ‘gooey’ or ‘thick’ - you have very specific words that you use in describing movement.HS: Yes…you know…and a lot of these dancers have been with me for years, 6, 7, 8, 9. But I would say give me 2 years and I can create a group like that. It’s about finding the right people, these people are extremely sensitive, talented and they are connected to something. There is a human element about my dancers that I love that is very important to me. They are brilliant dancers yes but…human beings first. I sometimes look at these dancers, I give an instruction and they do it. I mean how does it work? It goes through the ears, something happens in their brain, and it goes into their body. I tell them you know ‘push a wall and then melt.’ And they do it and it’s sort of amazing to see it happen, it’s happening, you know it’s wireless. There is something amazing about it. But these guys are extremely creative, we are very well connected - it’s about finding the right people. I think in the sense of the body, and the physicality, understanding what I’m trying to do with my movement language probably takes someone about two years.

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APPENDIX 3Q&A In spring 2017 we put a call out on social media to see if anyone had any burning questions for Hofesh. We selected a few to ask him!

Miwako Yamaguchi: If you can’t sleep at night, what do you do?This doesn’t happen very often actually. If it does though, it’s because I’m disturbed by an unsolved thing – like the new piece I’m working on, or a more human issue that comes from dealing with a lot of people in a creation process. When this happens I don’t fight it, I allow myself to feel it, to think about it, to fly with my thoughts…until I get to some sort of closure. Either this keeps me awake, or Netflix.

charlottealicethomas: Your most prized possession and why?The only physical object in this world that I actually value is my laptop. And I only value it when I am making a piece, because of what’s on it. My laptop is my way of doing everything – my work, my communication, my music composition…it’s everything I do. So I get pretty obsessed during a creation period about my laptop getting stolen or lost. I back it up all the time. So yes, my laptop. And my tennis racquet. That’s it!

theangrybuddhistka: What do you think about when you wake up? Ah… well it depends on the morning I guess. If I’m in a creation process… the piece. It’s the first thing I think about in the morning, the last thing I think about at night, and mostly just about the only thing I think about when I’m creating a piece. Imagining it, restructuring it, connecting to different feelings, ideas, images, I just let my mind roll. And if I’m not in creation… I just kind of try to see what’s happening inside me, for a few seconds, in my body, in the room. And then I decide what to do.

svetikaz: If the physical act of falling had a colour, what would it be?I think it would be a change in colours, through the different levels of falling. Going down you bump your knee, then your arm…blue and brown and orange…something like that.

wmatla: What’s your least favourite word?Oh…there are a few…words that I really like and hate in the same time. Words like haberdashery. Or yes, horticulturalist. I mean what does this even mean?? Are you gardening, digging up plants? Or are you landscape designing? I mean what??

wilstack: Who do you want to see in your audience?Is this like the game ‘Who would you invite for dinner?’ I don’t know, I just want an audience to see the work! I don’t make the work for a certain type of person specifically. No wait, this needs a more hearty answer…In the audience I want to see somebody who wants to be moved, somebody who wants to have a moving experience. It could be a young student – somebody in their 20s looking for meaning in their life. Or somebody in their 30s who is looking for a change, or somebody in their 50s who is looking to see some beauty somewhere in the world. Basically somebody who is coming with their heart and chakras open to have a real experience. So it’s not so much the kind of person I want to see in my audience but the kind of state I hope they are in.

annavlldp: If you could only take one thing with you to a desert island what would it be?My internet router - if I have internet I’m fine. I mean yes the router comes with other things - a laptop, electricity and so on - but you see my point. I need to stay connected.

sophiechat2: What is the first thing you’re trying to understand from a person you meet for the first time?Their motivation.

marieonetten_tanz: What are you afraid off? Any phobias?It depends on the day, but sometimes heights. Like bridges…if I’m on the wrong day then crossing a bridge is not going to go well for me. If there is a physical possibility of falling off, I’m not comfortable. Aeroplanes…I’m fine for example. So this. And spiders over the size of 5cms, makes me uncomfortable.

calazansmarianac: Would you rather be a jungle or a garden?Garden. Too many animals in the jungle. I like something simpler, somewhere to relax.

trishaontherocks5678: How do you keep your confidence in your artistic voice? You know what I’m going to say here. I don’t! Simple. I remind myself that the only thing that really matters is to just carry on and do something. That’s not confidence, it’s a decision I make, that I carry on and do it. In a creation time there are a lot of difficult moments for me in terms of questioning the essence or the meaning of what I’m making, the value of what is happening, what we present at the end. It’s just about persistence for me, it’s about continuing, about not giving in. So that’s a way forward – a simple decision to just carry on.

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