The Channel

Felicia Shenker and Marie Béland
Les Précédents de Marie Béland 1
Les Précédents de Marie Béland 2
Les Précédents de Marie Béland 3
Les Précédents de Marie Béland 4
Les Précédents de Marie Béland 5
Les Précédents de Marie Béland 6

Working note:

 

The Channel is part performance document, part ekphrastic poem.  I wrote it in relation to a dance piece,  Les Precedents by Marie Beland, performed in Montreal in 2009. The dance was specific to its site, Parc LaFontaine, a large, urban park.

 

Consisting of a series of improvisations, structured around a set of procedures, Les Precedents used a ‘language’ drawn more from ordinary movement than from a dance tradition per se. Some eight dancers moved throughout the park, stopping in formations,  holding poses and then breaking apart and running to the next station, always following and echoing one another. Vocalizations were occasionally thrown into the mix by one dancer who carried a megaphone.

 

An ekphrastic poem can be said to either describe the ‘source’ work from a distance or to enter it metaphorically.  In this case, I entered the work literally: following the performance, Beland gave a workshop inviting members of the general public to recreate the piece on site; I took part and wrote The Channel soon after.

The Channel

We mimic the shape of the water with our selves if it’s

true this is what I long for

 

This is such that my hand in the grass is glass and is also

understood

 

A grey sky and people pausing below trees their arms as

branches

 

Faces down in the grass we press our bodies into no order

we know

 

Better then to blend in to take on the shape of the hill the

pond the passerby

 

 

 

 

A smattering a metal mind you put your head down

without asking her

 

Moving parallel to various planes and fingers fanned out

to feel the bleed

 

Arm aches from being held up for so long I shake it too

soon and out of place

 

Hand on bark beside the others’ fan of hands she circles

and longingly listens

 

Not to look any closer but to inch forward to invite a type

of pain

 

 

 

 

Pulled in and then repelled the icy fountain down to here

where ice is slow stagnation

 

I ached the next day due to groups the subtle sign a run to

follow and open

 

Terrific veering brought on my pleasure and hers as sharp

as seduction and then

 

I dropped the gesture mine was static up the stairs with

an arm anticipating

 

Repeating a map and a plan and I am and am not here for

the man

 

 

 

 

One by one off the row held against her and quickly

discarded

 

Beginning as we walked on stage and took our bags back

and wrote our names

 

Not looking down to see what may be in it a kind word is

also a warning

 

I could bend over to put powder on the floor as you tell

me how you will lift it

 

Hands to the back of the head and sound sings a way

through the trees

 

 

 

 

Or break away from the others and run so all can see the

new formation

 

We stood one by one beside the water opening vision

with arm lines

 

The stopping of it not long in the body soon words come

and shake another one again

 

The one I aim for and the one I move in are now distant

but by more than one

 

Arms as though eyes and music added on as a way of

embracing

 

 

 

 

A way to move between drops and abort them the likes of

those who draw lines

 

You will not see but make a hole the same size and put in

my invitation

 

Holes do attract another agency had we done it but no we

only stood

 

Otherwise it can drop and drag and then be written and

thus reinstated

 

With seriousness such that I felt a pressure not to stay put

but begin

 

 

 

 

I run fast and faster in orange sandals toward the green

tree

 

To move closer and refrain in the dark day after day

running in lines

 

Around a tree a foot folded the bark rough and my hand

getting up too

 

Collapsing in the warmest corner and drawing the

diaphragm down

 

Between each of us along the line of instruction and then

exceeding it

 

 

 

 

Every morning I plan the purchases I put my hand there

and gently release

 

Had we been able to mimic the sky in our moving who

would be there to be

 

And then there is the need to pull into interiors to softly

incline

 

People stopping to add their movement to ours though

none knew how to pause

 

To be so clear of moving into pressure in over and

around for the mind

Photo Captions

Les Précédents de Marie Béland 01

Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Marie Béland
Sur la photo:
Hugo Gravel
Simon-Xavier Lefebvre
Louliko Shibao
Marilyne St-Sauveur
Anne Thériault
Andrew Turner

Les Précédents de Marie Béland 2

Atelier sur Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Marie Béland
Sur la photo:
Danseurs professionnels
Simon-Xavier Lefebvre
Anne Thériault
Hugo Gravel
Et les participants à l'atelier

Les Précédents de Marie Béland 3

Atelier sur Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Marie Béland
Sur la photo:
Danseurs professionnels
Simon-Xavier Lefebvre
Anne Thériault
Et les participants à l'atelier

Les Précédents de Marie Béland 4

Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Andrée-Anne Blouin
Sur la photo:
Isabelle Arcand
Andrew Turner
Louliko Shibao
Genevieve Gagné
Amélie Bédard-Gagnon
Hugo Gravel

Les Précédents de Marie Béland 5

Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Andrée-Anne Blouin
Sur la photo:
Simon-Xavier Lefebvre
Louliko Shibao
Anne Thériault
Marilyne St-Sauveur
Hugo Gravel

Les Précédents de Marie Béland 6

Les Précédents de Marie Béland / maribé - sors de ce corps
www.maribe.ca
photo de Andrée-Anne Blouin
Sur la photo:
Hugo Gravel
Simon-Xavier Lefebvre
Louliko Shibao
Marilyne St-Sauveur
Anne Thériault
Andrew Turner

Felicia Shenker and Marie Béland
Felicia Shenker and Marie Béland

Trained as a visual artist, Felicia Shenker long made text-based art. Eventually she shifted her work toward the page. Her writing continues to draw on the visual, as well as on theory and performance. Recent poetry has appeared in Bathhouse, DEAR SIR, Drunken Boat, eratio and Little Red Leaves. She is also an artisan perfumer.  She lives in Montreal.

*

Marie Béland is a dance artist based in Montreal, Canada. In 2005, she founded her company, maribé - sors de ce corps. Since then, she created numerous pieces for the stage, such as maribé – live in Montréal (2005)Twis-manivelle (2005), a work for youth audiences for which was declared one of the top 5 dance performances of 2005 by ICI magazine, Dieu ne t’a pas créé juste pour danser (2008), for which the company won the ARRIMAGES prize,RAYON X : a true decoy story (2010), co-presented by Tangente and the Festival Les Coups de Théâtre, BEHIND : une danse dont vous êtes le héros (2010), which has been performed in International Festival FTA of Montréal and ArtDanThé of Paris, Vie et mort de l’élégance (2012) and Révélations (2012) which has been performed at the GREC Festival In Barcelona. Parallel to her work on stage, she is interested in site-specific performance, multidisciplinary work and teaching. In 2008, she was commissioned by Théâtre de la Verdure to create Les Précédents, an architectural choreography presented more than 40 times since its creation. Marie Béland is also a founding member of La 2e Porte à Gauche, an organization that creates and produces contemporary dance events which take place outside of traditional dance venues, in places such as apartments, stores, bars, parks, and which aim to question different relationships between artists and their audiences.