Author Archives: Fearghus← Older posts June 12, 2013
It’s been an effort to make myself write about the final rehearsals and first public performances of Cure. It’s not that writing and reflection isn’t important but I, with the help of others, have put much energy, focus and attention into the embodiment of the work, particularly in the concentrated form of a performance, and writing about it doesn’t have the compelling necessity that dancing it does. Maybe the difference is obvious from that last phrase – to write about it (outside it, around it, at a remove) and to dance it (do it, be it, no space between). That doesn’t mean that I’m not happy that Cure might stimulate others to respond in a variety of ways that include talking and writing. read more…Posted in Blog | Leave a comment May 22, 2013
The physical nakedness in parts of Cure might be related to a willingness to be bare, to be open, to show things as they are rather than hide. I think the choreographers who’ve contributed to the making of Cure all have that impulse to honesty and openness that makes them great performers and artists and they’ve each found ways to reveal and lay bare what they think matters about cure. And in some instances, that laying bare is literal, not because they required it of me, but that their idea was best expressed by being naked. read more…Posted in Blog | Leave a comment May 17, 2013
‘The lighting design is subtle and effective, and the soundtrack, which is occasionally unsettling, provides the perfect accompaniment to this performance. Fearghus Ó Conchúir is exceptional, a very talented performer….The piece was choreographed by a team of six, and there is a sense of the collaborative effort here. It is profoundly emotional, hopeful and thought-provoking, and is highly recommended.’ Una McMahon, entertainment.ie
‘A sequence of abstract meditations on the theme of recovery, bound together through the still centre that is Ó’Conchúir’s presence on stage, ‘Cure’ is not about the sum of its parts; rather, it’s about bringing attention to how necessary each of those individual, underlying parts are in the construction of a whole.’ Rachel Donnelly, DDF read more…Posted in Blog | Leave a comment April 27, 2013
‘It’s about how you share power? How do I give [the performers] power to be able to make something great? How do I give people who are interested to do some movement, in dance, who want to move so that they understand my idea and take it and go in their own direction? It doesn’t have to all come back to me. And it’s the same with an audience, how do I give them some potential so that they see and respect what I offer but also they feel like they can go somewhere with that? read more…Posted in Blog | Leave a comment April 17, 2013
From our experience of doing the final E-motional Mapping in Limassol with a big group of people following us, we knew that such a crowd of specific spectators had a big impact on how we experienced our process and on how we manifested that experience. Having a large gathering of people on the streets has the practical impact of changing the dynamic and energy of the environment. It occasionally obscures the geometry of the quintet and so challenges our ability to compose with the shape of our relationship in the city. Moreover, even though we are clear that this work is not a performance, the crowd of designated spectators which has gathered specifically to follow us (as distinct from the casual spectators who encounter us on the route) creates a frame that we are drawn to fill. read more…Posted in Blog | 1 Comment April 7, 2013
“Places, even when materially demolished, remained haunted by …. the ‘unresolved remainders of memory’. These unresolved remainders ‘do not consist of depositions laid down as is assumed in theories preoccupied with leaving marks and traces in an unchanging material base but in pathways that branch off every more diversely into a multiple futurity’. At some moments in time and in some places, we might encounter those residuals and move through pasts to possible futures and return differently to presents. Places are thus both personal and social, made of human and non-human lives.” Karen Till read more…Posted in Blog | 1 Comment March 31, 2013
Children have no difficulty falling and getting up again. I’ve noticed when I’ve presented work to audiences that aren’t familiar with contemporary dance that they remark on the fact that I am like a child in that I am comfortable moving around on the ground. I guess it’s not a thing that adults do so much or give themselves much permission to do. And it’s a skill we lose if we don’t practise it. Dancers practise falling and recovering quickly and I’ve noticed in Cyprus that it is the dancers who are already thinking of what next while I sense others are still in the stasis of shock. In this case, the dancers will test the way ahead, getting things moving when crisis has caused things to stop. read more…Posted in Blog | Leave a comment March 18, 2013
Elena was the last of the choreographers for me to start work on for Cure. One of the first things she asked me to do was to learn to make an origami crane. (You can follow the tutorial here if you want to have a go). The process requires care and concentration and we discussed the relevance of care in the work of recovery. As a doctor of Chinese medicine, she has a deep understanding of the careful, caring commitment to a process of recovery that is required by both patient and doctor. read more…Posted in Blog | Leave a comment March 18, 2013
When seen as a rejection of austerity, the Italian vote actually makes some sense. As a supposed cure-all for everything that ails us, austerity is sorely lacking in evidence to support its efficacy.
Our doctors don’t prescribe homeopathy or placebos, and our departments of health tend not to rely on complementary medicine as a cornerstone of public-health policy. Unfortunately, in capitals and central banks all over Europe and North America, the promotion of fiscal policies that run contrary to the evidence are the only policies that are being entertained right now. read more…
Psychologist Oliver James points out that mental health is not just an individual problem nor can it be addressed by individuals alone. Through Cure, I have been able to experience and build on the support of a particular network that has sustained me (artistically at the very least) in the past and continues to do so in this work.
However, in accepting that good mental health depends on a sense of belonging, I don’t accept that groups are sui generis beneficent since it is precisely the intolerance of some collectives that excludes individuals and puts them in psychologically, emotionally and socially vulnerable situations. read more…