An Interview with Jan Lauwers, Grace Ellen Barkey and Maarten Seghers about 25 Moves by Needcompany (by Marnix Rummens)
Using art to challenge the world. That is what drives Jan Lauwers and Grace Ellen Barkey of Needcompany. This was the case more than 25 years ago, when their wilful mix of theatre, dance, music, and visual arts irrevocably broke down the barriers between familiar classic art forms. And it is still the case now, when these creators confront their own imagery with the unpredictability of the ocean. ‘We want to continuously re-examine the world, in a search for freedom’, is the Needcompany credo. And there is only one way to go about it: movement!
What can we expect from Needcompany’s 25 Moves?
J: We have been working on Needcompany for 25 years. For Dansand! the idea is to place old material from the past 25 years into a whole new context, using the music of Maarten Seghers. It is not exactly a retrospective but a new perspective on where we are today. Because the material gains a whole new colour and a whole new vocabulary within this setup. This was an idea that Grace, Maarten, and I had been toying with for a while, a pet project you never have the time for. The invitation from Dansand! finally gave us the perfect opportunity.
How do you make a selection out of 25 years worth of dance?
M: It happens in a very intuitive and personal way. I felt it was important not to try for some sort of retrospective overview, but to use this opportunity to try something new, to get a new perspective on things we have been working on a long time. A retrospective would be over on Sunday night. 25 Moves is more like a work-in-progress. Literally. A doorway into new possibilities.
G: Maarten suggested using music based on several concerts we have done over the past few years, and collected material from those performances. Based on his suggestions I searched for the right dance material, always rooted in the question how that material could become a whole new world in this context.
How big is the challenge of the sea for you?
J: I have always been fascinated by the sea. It appears in a lot of my work. When Dansand! proposed we do something on the beach in Oostende I did not have to think twice. Needcompany is always travelling. We often play in the open air, on location, recently by a mountain lake, so why not on the beach? It is no stranger to us. The sea is a symbolic presence. And it will be fascinating for us to discover what that vast expanse does to the work we create in a studio. I expect there will be a slowed down effect that will give even more colour to the imagery.
M: I think the grandeur of the sea will make the material more human. Because that grandeur presents such a contrast with ourselves. The typical searching stance of the characters Grace plays will be emphasized by the sea. At the same time the ocean, the horizon, the murmur of the waves creates such restfulness, while our performance is more like a battle. The sea will amplify and weaken us. That will be clear from the start with the heavy drum solo: even that will sound vulnerable. Which is then again a powerful force.
J: Melancholy rage I call it, a sort of subdued fury. Even the motto of Needcompany will be seen in a new light: No beauty for me there where human life is rare. No beauty without people. And there we will present our artificial creation trying to compete with the eternal beauty of the sea. I love that contradiction.
Have you rehearsed everything for this performance or did you leave room for improvisation?
J: We have set down a few basic rules; otherwise everything must be about freedom. About facing unforeseen circumstances as a group and learning to react to that in the performance. That is essential. It’s why we chose not to rehearse on sand. That will challenge us to think on your feet and to let go of all the preparation. Even the length of the piece is not fixed. It could last an hour, it could be longer than that, we don’t know.
Is an event-based project like 25 Moves different from a traditional performance?
M: The possibility of risk is the most interesting difference between a traditional show and what we will be doing at Dansand!. Usually, you decide in advance what kind of message you want to communicate. It’s great that now we can discover new and unforeseen expressions. That will happen organically, as we will give each other cues in unexpected ways. With a project like 25 Moves the content can become much richer than you initially thought.
G: That’s what we really love about this project. Performances are often strictly regimented, but this setup allows much more freedom of movement. Direction comes more from the different voices in the group than from one single director. It is a bit like free jazz: you have a certain set of chords as a given, but everything is possible from there. You have to be able to react to the unexpected cues you give each other.
J: The beauty of having an ensemble of people who realise what that freedom means. You can accomplish a lot if you have known each other for years.
To you, performing is a further exploration of that freedom? How do you keep evolving?
J: It is very important to always be prepared to explore the unknown again. As a performer, I usually know about 40 percent of what I will be doing. For the other 60 percent, I do not yet know what meaning I will inject into my presence. Not fearing that 60 percent, that is freedom.
G: It also means working incredibly hard, every single day, with a group of like-minded people who continue to challenge each other.
M: The more you dare to confront complacency, the more you will transcend what you already know and are capable of. You will learn that freedom lies in not-knowing, in learning to cope with not-finding. Because you can sense how even that is a source of expression. Freedom is finding that connection to the power of vulnerability.
© Maarten Vanden Abeele