DARK DAYS NEED CEREMONY
A two-part work about endings and new beginnings
2023-25
Part 1: KING | SHRINE
It's good to imagine the END
It comes to us all
Dark Days need Ceremony
KING | SHRINE is a new performance and installation by choreographer and artist Emma Martin, in collaboration with Katie Davenport, Stephen Dodd, Mick Donohoe and Mufutau Yusuf (Junior).
It is part 1 of a larger project by Martin entitled Dark Days Need Ceremony, a work about ‘endings and new beginnings’. This marks the first of a pair of works under this title.
KING is a performance created for dancer, Mufutau Yusuf (Junior), and sound artist/ DJ, Mick Donohoe. It celebrates the simple, communal act of gathering and dancing. Leaning on the arc of ascension, reign and death as a frame to consider humanity’s era of domination, this dance is a humble bow to our powerlessness in the face of nature’s will.
SHRINE evokes a grotto-like space manifested by sculpture, light and sound. Using materials and symbols associated with the opulence of churches, shrines and palaces, the viewer is also confronted with the familiar, banal detritus we leave behind. At the heart of SHRINE is a soundscape that rides through apocalyptic disaster, the abyss, and the birth of a new world.
Martin writes; ‘It’s healthy to imagine the END. We’re all going to die. Here is a space to contemplate that.’
Installation running in VISUAL (Carlow) until 13 May 2023
Dublin Dance Festival 25-26 May 2023
Cairde Festival 12-13 July 2024
snaking ‘92 a stream-of-consciousness style piece written by artist Richard Proffitt in response to Shrine
CREDITS
Created by Emma Martin in collaboration with:
Dancer: Mufutau Yusuf (Junior)
Music and Sound: Mick Donohoe
Light and Visual Design Conception: Emma Martin, Katie Davenport, Stephen Dodd
Production: Veronica Foo
Programmer: Susan Collins
Sound system and installation: Tuathal McClenaghan
Velvet Curtain: Frances White,
Text: Emma Martin with some contributions from Wayne Jordan
Voice: Hilary Woods
Costume Maker: James Seaver
Vinyl Lettering: Art Mooney
Lighting Technician: Barry Hehir
Wax sculpture fabrication: Mick Kelly and Istvan Laszlo
Photography: Jose Miguel Jiminez, Ros Kavanagh
Commissioned by VISUAL Centre for Contemporary Art
Everything probably begins in the dark.
My abyss staring deeply into yours
Silence. Everything fell silent from what came before, which was probably bad renditions of pop songs from the noughties sung with too much want and need. A dull light flicks on, one of those crap energy saver light bulbs. A huge painted canvas, taking up your entire field of vision - all pastoral browns, pinks and greens. Dusty low sunset scene, far off horizon. A handful of withered petals blow in from somewhere to nowhere, and an empty Tayto packet trundles by. Are we on a road somewhere? A road to somewhere from here. The air has a familiar smell…a mixture of patchouli, Lynx, cut grass and rotting fruit. Pan-pipes echo in the distance. From nowhere a pink cloud of smoke forms- it’s blushing from the inside and appears to be throbbing. As it blushes everything else seems to go grey. Voices. Indecipherable gibberish and mouth sounds and the Pan-pipes getting louder and louder. The cloud takes on the impression of a beating heart in those videos of open-heart surgery- furiously pumping. Rain. The sound of torrential rain drowns out the pan-pipes. Sudden silence again. A small bird bursts though the cloud like a bullet, and there’s brief interlude of kamikaze sweetness and panic, followed by a deafening barrage of whistles and squawks. Underneath the cloud a puddle of shiny pink gloop appears on the ground, dripping from above like honey off an invisible spoon. The light turns golden in colour, getting brighter until it hurts to look. A cacophony of sound and colours pass and the cloud dissipates. In its place a creature that resembles a mammoth standing on its hind legs, shimmies delicately. Steam billows from its nostrils, eyes are red. More petals blow across from nowhere to somewhere. The air is so chill you can almost see the heat from the animal emanate. There’s a small radio playing somewhere, a tinny sound. Wichita Line Man? The more folky side of country. From a distance you can hear the sound of heels - click clack click clack– approaching from behind the painted canvas. A small girl appears through a slit…barefooted. An arrow stabs the ground in front of the creature resembling a mammoth. It bows gracefully like a royal page boy and backs away through the slit, still in a bowed position. Suddenly you hear the growls of advanced labour pains, and they’re drowned out by tonnes of stones being emptied off the back of a quarry truck. Tonnes and tonnes. Thunderous and terrifying. A charred Christmas tree rolls past on wheels, complete with melted baubles. The small girl dances and leaves. Labour growls again, fading away to a lone baroque flute, full of hope.
Back to silence.
The painted canvas falls to the floor
PART 2: SOFT GOD (2025)
A painted canvas falls to the floor. On an empty stage a tableau of 10 performers and the Soft God, who plays baroque flute. It looks like a mashup of a Degas x Bosch painting.
Heat. Recklessness. Humanity. Exertion. Spectacle. Hysteria, Connection, empathy, ancient, velvet, never-ending dances, sincerity, gold, vigil, mystery, bewilderment, pleasure, deviancy, procession, emptiness, innocence, excess, bliss, greed, monstrousness…
In development
Next work >