Dwelling in-between

Choreographer Sara Giddens reflects upon how making a series of ambulant performance works, The Dream-Walks, invited her to dwell in space–times in-between, and how a resulting stepping aside heralded the opening up of a fundamental change in her relationship to audiences. Drawing upon a range of philosophers, including Bachelard, Heidegger and Rancière, Giddens reflects upon the impact that dwelling in those in-between space-times has had on her professional and pedagogic practice.

1. Dream-Walk, Skegness (2012 & 2103)

The very ending of the show in Skegness (2012 & 2013) with performer Graeme Rose reaching a still-ing point; alongside the voice-over of local resident Joyce Oates.

2. Dream-Works in Singapore (2009), Bristol (2010) and Nottingham (2009)

Performer Polly Frame reflecting on the possibilities of the world in the Broadmarsh Centre amongst shoppers and commuters.

3. Dream-Work, Nottingham (2009)

Audiences invited to step-aside from the flow of the early morning commute.

4. Dream-Work, Singapore (2009)

The first of our walks and the beginning of our exploration integrating bespoke soundscapes (in this case a pen on the railings captured and played back live) and local voices into the soundtrack.

5. Dream-Work, Nottingham (2009)

Interrupting the flow of the ambulant-performance and stepping-aside in to the everyday, inviting audiences to become attentive to human encounters, being to being.

6. Dream-Walk, Skegness (2012 & 2013)

By Skegness we were much more adept at integrating local voices and action into the work, and understanding how by-standers could provide a further, very welcome, layer to the frame.

7. Dream-Work, Singapore (2009)

Finding and creating shared dwelling places; and allowing the simplicity of the dance to invite space-times for still-ing and contemplation.

8. Dream-Work, Nottingham (2009)

Finding moments of still-ing amongst the flow of traffic and people; and creating small dances within the everyday.

9. Dream-Work, Bristol (2010)

Performer Tom Wainwright leading the audience away from the main commute and marketing speak and towards a more contemplative space-time by the waters edge.

10. Dream-Walks in Wirksworth (2011), Cardiff (2014), Skegness (2012 and 2013) and Bristol (2016)

Employing dwelling as a way of creating space-times for dialogue and reflection with locals.

11. Dream-Walks in Singapore (2009), Skegness, (2012 and 13), Wirksworth (2011), Cardiff (2014)

Drawing attention to the senses in order to invite dwelling.

12. Dream-Walks in Bristol (2010), Wirksworth (2011) and Singapore (2009)

Performers employing still-ing to create space-times for audiences to attend to those things, people and places around them.

13. Dream-Walk in Wirksworth (2011)

Performers and audiences sharing space-times and geology.

14. Dream-Walks in Singapore (2009) and Skegness (2012 and 2013)

Drawing the local environment in to the sound-scape.

15. Dream-Walk, Skegness (2012 & 2013)

A final promenade to the sea and our dwelling together within the magnificent ‘fourfold’ (Heidegger [1951] 1978: 352).

16. Dream-Walk in Wirksworth (2011)

Drawing attention to the extraordinary-ordinary through creating spaces for still-ing for performers and audiences.