By Keith Hennessy and Jassem Hindi, with lighting designer Dennis Döscher
Last post of 2016
I arrived at Counterpulse early and picked up the December issue of indance. On the last page was an article penned by Hennessy and Hindi about future friend/ships. They started with this quote:
“Irony is about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humor and serious play. It is also a rhetorical strategy and a political method.
– Donna Haraway, First test space monkey
In their article, Hennessy and Hindi identify their research practice as “ironical” and aim for the dance to “host otherness.” As hosts, Hennessey and Hindi welcomed us on stage before we took our seats and the lights dimmed. As we walked around the stage, we were asked to look at the photos (“a partial tarot deck”) scattered around and sample food they offered on trays. This opening did resonate with the theme of hospitality that they claim “is the name of [their] game.” Later in the piece, they also invited the audience to view the tarot cards again as Hennessey and Hindi passed them through the audience. It left like we were in someone’s living room (the fabric curtain and costumes added to this effect).Another thread that became clear from the “performance/installation/science fiction salon” was the idea of Arab Futurism. A quick google search didn’t reveal much on this emerging genre (?) in contemporary art.
With all this mind, my response attempts to sort out what all this might mean in the context of what occurred (and what I noticed) on stage. In order to do so, I found myself reading through the performance zine and digging into literature about irony.
When my friend sat down next to me, I turned to her and said, “this is a dance about language.” Reflecting back, I still think this claim captures this piece as whole for me. It is easy to point out the tangible textual elements of the performance such as the use of spoken word and its written manifesto. This piece is also about making, tinkering, and fashioning. In addition to the text, Hennessy and Hindi “made” sound and props, which seemed to fit with their directive to imagine and transform the future. The future made visible in “future friend/ships” is not yet sorted out – the tarot deck isn’t complete, the drones didn’t really work that well, and the dance movement unrefined. When Hennessy and Hindi danced their bodies moved as if they forgotten how to “dance.” They tried out steps (I noticed grande jeté en tournants and temps levé sauté), arms dangled, and bodies dropped to the floor. This movement suggested a kind of scratching-your-head-thinking, which for me is the work of language, which can be thought as a form of making or even invention. All of this might serve to remind us that making the future requires some forgetting, a forgetting that stretches out and strives for possibility.
The ironic nature of “future friend/ships” eludes me, and I wonder if the logic of irony – its movement of strategic reversal can be danced. Hennessy and Hindi might answer yes. I, however, am still wondering, which seems an appropriate way to conclude 2016.