Category Archives: performance

A Woman’s a Woman for A’ That

Nana recently attended her first Burn’s supper. This involved being introduced to the twin customs of The Toast to the Lassies and The Reply to the Toast to the Lassies.

At the particular supper to which I was party, the Toast to the Lassies was a cheekily scurrilous account of the behaviours of the fairer sex which, in baffling the speaker, were deemed praiseworthy from a sense of bewilderment if nothing else. The Reply, in turn, was a robust account of how, like many other fine examples of the dominant sex, our esteemed speaker could only succeed in life with the support of a good woman.

An amusing showcase of ‘70s gender politics, then.

Over in Glasgow, meanwhile, The Reply to the Toast to the Lassies was being delivered for the first time by a transgender woman – Jo Clifford . I’d recommend a read.

This curious whisky-fuelled cocktail of discourses fair set my head spinning.

When Germaine Greer rattled everyone’s cage recently with her pronouncement that transgender women were not women, I confess I had some sympathy with her position. She was responding to Caitlyn Jenner’s award of Woman of the Year and I suspect Germaine wasn’t the only person whose feminist sentiments rankled at the implied notion that femininity could best be made successful by bringing on board a new CEO who used to be man. A new spin on the ‘old boys’ network’ to be sure, but one guaranteed to bring out the conspiracy theorist in any card-carrying member of the old guard.

And I have to further confess to initially feeling something of the same response to Jo’s Reply – she draws very heavily on her previous experiences as a man to illustrate the uniqueness of her position. Surely it is this unique view that separates her experiences from those of women raised as females within our society? After all, Jo’s conversion/ full realization of herself as a woman came after years of living as boy and man during which time she was surely not entirely immune to the calque of masculine privilege ossifying her form?

As I pondered this, I began to muse on the various situations of the three people amongst my friends and acquaintances whose experiences in this regard really count.

First among these is Jo herself, to whose acquaintance I can lay scant claim beyond the intimacy of her one-woman show The Gospel According to Jesus, Queen of Heaven — the most moving and thought-provoking theatrical work on this theme I have encountered. (See it if you can).

The second acquaintance may yet be too young to offer her considered account, since she is a child whose inner female was so strong she began her transition at infant school and her journey continues through her still tender years.

The third is a childhood friend whose strong female identity was a certain cat amongst the pigeons of a late ‘60s – early ‘70s childhood in our working class northern English milieu. He now lives as a (camp) adult homosexual man.

I cannot gainsay whether Germaine Greer has any genuine axe to grind with transgender women. It may be that she simply rejects transgender women as women. Rightly or wrongly, I took her argument to be that by including transgender women in the category ‘women’ we deny the uniqueness of their perspective.

But, I come to realise, this is also precisely where such an argument begins to unravel.

For the two folks I know most intimately, it couldn’t be said they had ‘enjoyed’ a prototypical male socialization experience. But then who could claim that?

And whilst I consider myself very much a female I’m not sure I could claim a prototypical female socialization experience, since I’m not entirely sure what one is. Or at least if I imagine one, it is simply that- a construct of the imagination; a fairytale amalgamated from an idiosyncratic selection of all the various gendered and gendering experiences available.

And I couldn’t even give you a percentaged guesstimate of how much of ‘me’ is gendered. Because don’t we all have a core being that remains a genderless thing?

When I wake in the early hours and am gazing at the sleeping windows of the houses in the town where I live, I am not conscious of doing that as a woman, but as a being. The fact that my being is in human form I concede has a considerable degree of influence on my perspective in this instance, but I’m not sure that my gender always exerts the same force.

So whilst the rigidity of the existing gender options of ‘man’ and ‘woman’ are beneficially challenged by the fluidity of the trans experience, Germaine’s move to insert a further category of ‘transgender woman’ (and presumably its counterpart ‘transgender man’ — although as a feminist I find it telling that this category is little vaunted, much like Queen Victoria’s infamous lesbian blindspot) still leaves the gender landscape hopelessly codified. The cranny between ‘transgender woman’ and ‘cis woman’ (a term I find both ugly and difficult to accept) simply offers a fertile space for further prejudice to gestate.

Yet surely language has a key role to play. It is the primordial conceptual brine through which we all emerge. Language shapes our imaginations as well as our cultures.

The youngest of my children is of a generation which seeks to obliterate gender altogether. It’s taken me some time to grasp, but this seems to me a genuinely liberating ideal, and worth pursuing.

The most immediate barrier for English speakers is one of pronouns. It seems petty, but in the petri-dish of identity formation pronouns are protozoic.

Discovering self is wonderfully neutral from a gendered language perspective: I; me.

Beyond self, however, our language offers a binary choice of pronouns available to the description of other individual humans, and the only alternative is so cold that we often gender inanimate objects in order to avoid it.

That linguistic move between self and another is our first operation of ‘othering’, and it brings into focus another important aspect of this whole debate. Perhaps one reason for its resonance in contemporary society (after all gender challenges are nothing new) is that it speaks to the conflict between individualism and collectivity.

Here arguments of biology are shown to be something of a red herring, and the question is whether – in an increasingly atomized society – we can ever claim sufficient commonality with others to form an invulnerable group identity. And, given a choice, would we want to?

What premises underpin the claim that ‘we’ are ‘women’ and ‘you’ are ‘men’ ?

Is the rise of individuation a threat to compassion, empathy and sharing? Or does recognition of each as individual remove the barriers that currently divide us as human beings?

As the French philosopher Michel Serres suggests in Hermès, what we have constructed as a coherent real could just as easily be understood to be ‘fluctuating tatters’ wherein ‘the state of things consists of islands sown in archipelagoes on the noisy, poorly understood disorder of the sea…’

Doesn’t our increasing transhumanism broaden our ability to simultaneously encounter, comprehend, experience such that it may become the gift of our time to leave behind the cold safety of categories, to swim freely in the fast-flowing burn of our digital social connectivity?

Perhaps at next year’s haggis someone will be brave and gifted enough to uphold the Lost Burns manuscript tradition with a gender-free rewrite of For a’ That and a’ That ?

And perhaps we might all find the confidence to raise a dram in toast.

 

 


@MIfestival #TreeofCodes 05 July 2015 14:30

At the delightfully avant garde opening sequences of Manchester International Festival’s Tree of Codes I felt a little cheated.

In 2012 I had run around Arthur’s Seat in a lightsuit – and not once, since a practice session was necessary to the choreography (Speed of Light, Edinburgh Festival). I then emailed the innovators behind that performance hoping to borrow a suit to map one of the expressive dimensions of natural sign language poetry performance (Signart). Sadly my request fell on stony ground.

It was at least heartening to see such suits well deployed by the Paris Opera Ballet and Company Wayne McGregor.

The next sequence, involving angled mirrors, had me wishing all my deaf and sign sensitive friends were in the stalls alongside me (and no, that number does not include Mr. Tumble, unless his purpose is to offer umbrellas at the farthest reaches of the foyer).

And then sorcery gave way to beauty – the chromatography and chroma-graphics; Jamie xx’s formational soundscapes; refractions of reflection upon reflection; layered dimensionality….

Yet the real 3D human bodies remained somehow trapped – if not in dimension, then in plane – and, indeed, in only the lower reaches of the vertical (as if footnote or subtitle).

Despite the virtuosity and funk of dancers and choreographer Wayne McGregor, towards the culmination of the revolving circular windows one longed for some lift – perhaps by such choreographic stage management as vertically revolving panes lifting individual dancers to an exit amongst the higher boughs.

Or for some underscoring of depth. This latter, in particular, could have liberated the embodied text by occasioning the dancer to emerge from those unreachable parallel dimensions, through the coupéd scenery and out toward or even into the auditorium in which we featured. Foer’s book made such manoeuvres possible for the word.

Small frustrations not withstanding, I was not disappointed to have made the pilgrimage for such a gem, and left dreaming of chats with Olafur Eliasson.

photo-9        Highly recommended.


The stars are the map

I recently completed a short residency at the Scottish Poetry Library, and produced this short (3 minute) film poem. The film debuted at the 30 years’ celebration of the Scottish Poetry Library that was held during the Edinburgh International Book Festival this summer.

The text below explains the film and the process of making it, and was read at a recent cross-disciplinary discussion of the work, which took place at Hugh Miller’s Cottage in Cromarty.

The Scottish Poetry Library’s own blog pages list further upcoming Scottish screenings. Meanwhile the film is circulating through deaf communities via social media.

I’m hoping to get the film screened at some deaf festivals and various other places. If you’d like to screen the film, please get in touch.

The film is a work of translation art; a synthesis of voices, languages, and perspectives crystallising around a remarkable journey.

It was made for the Scottish Poetry Library during a short residency, funded by Creative Scotland and the National Lottery (as part of the PEP programme), with the aim of extending the Library’s reach to communities beyond its existing demographic.

Having just completed a PhD by research into sign language poetry – that is poetry that is created in a natural sign language – I wanted to bring sign language poetry to the Library’s collection and to introduce these poetic communities to each other.

At this point it is probably important to dispel a few myths.

British Sign Language is one of Scotland’s indigenous languages. It is not, however, merely a pantomimic version of English. Much scholarly work over the past half century has determined that British Sign Language is a unique and intriguing language. It can compound, much like German, uses classifiers much like Swahili or Hebrew, has a mainly Subject-Object-Verb syntax- unlike English- and so on.

As part of the residency, the Library’s staff were given awareness training, introduced to British Sign Language, to Scotland’s deaf communities, and to the basics of poetry created in a sign language. Most of this behind-the-scenes work was completed before the film was made. In addition the Library held an evening of sign language poetry performances, and a workshop for aspiring Scottish sign language poets led by eminent practitioner, Paul Scott.

In many ways, then, the making of the film marked the end of one journey and the beginning of another; the end of my residency and the beginning of the Library’s new relationship with sign language poetry.

The original proposal for the film – entitled ‘A Vispo Billboard for the Scottish Poetry Library’ –  grew to envision two short films that could be projected onto public buildings in Scotland.The idea was to create two companion pieces- one which took a sign language poem as a source text, the other which worked from a poem by a published Scottish author. Both pieces would be made accessible to both communities.

The subject of each piece was carefully considered, with the intention of offering both communities an insight into each others’ cultures and allowing these communities to speak to each other through poetry.

Gerry Hughes’ solo circumnavigation of the globe via the five great capes was a feat later recognised with an honorary doctorate from the University of Glasgow. But at the banquet held in the weeks following the sailor’s safe return Gary Quinn – in the true bardic tradition of British Sign Language poetry – honoured Gerry in verse.

Gary’s original poem witnessed Gerry’s life, his struggles, his determination and his triumph in a full fifteen minutes of flowing creativity.

In the year that passed between its first performance and the making of this film, Gary had been asked to recite the poem so many times he was grateful for the opportunity to commit it to record, despite the necessary dramatic reduction in its length. A kind and generous soul, Gary took news of each further cut squarely on the chin, acquiescing with a gentle nod of his head.

Gerry Hughes lent his support by generously allowing us access to his personal photographs.

Securing the BSL source poem was merely the first step, however. The question remained of how to translate the poem, and how to demonstrate some of the beauty of its poetic form. Gary’s piece, like most BSL poetry, takes its language beyond the everyday, creating arrestingly unusual and beautiful images.

Of course the Scottish Poetry Library famously holds the Edwin Morgan Archive, and in honour of his work I wanted to allow any translation to ‘emerge’, rather than seeking a more direct or literal linguistic translation. And after two decades of working as an interpreter and translator it is the inevitable spaces between languages that interest me – the gaps that are filled with our cultures, our selves, our imaginations.

Enter Christine da Luca.

The Edinburgh Makar greeted the idea of this project with honest excitement. To start the ball rolling, she and I looked over the rough edit of Gary’s poem and discussed the loosely descriptive content notes I had provided. I pointed out particularly creative lexemes and phrases and explained the significance of Gary’s poetics from a BSL perspective.

Over a Skype connection between Lothian and Shetland we giggled as her own poetic imagination conjured words that captured Gary’s metaphors and laced his work with her own fingerprints. A new work ‘emerged’.

And Christine did her homework; researching all she could of Gerry’s journey she noted those in whose wake he had sailed (‘Odysseus, Chichester’), alongside the facts of his voyage (‘8 months, 32000 miles’).

In her native Shetlandic, the flow of the verse changed again – eddies catching around yet other moments (‘smeddum’, ‘aber, foo o sea stories’).

The results were no more a set of literal translations than Gary’s original verse was a literal translation of Gerry’s journey.

Yet despite Christine’s beautiful texts, the majority of people coming to this film BSL would still find the niceties of the BSL difficult to appreciate. An audience might need further guidance to unlock some of the BSL poem’s visual treasures.

David Bell’s kinetic typography, therefore, represents yet another layer of translation.

As we sat in his Appleton Towers office, in Edinburgh University, I explained the significance and particular beauty of Gary’s expressions, handshapes, movements, tempos and spatial placings whilst David harnessed his technical and artistic abilities to bend Christine’s English to the service of these properties.

The technicalities required a little further editing of the source (BSL) poem.

In the final, finished version, you will find elements in the Shetlandic that are not fully represented in either the English or the BSL, elements of the BSL that escape both written (or spoken) languages and so on. I hope, too, that you will find different elements of beauty in each.

The languages and translations of the film do not exactly echo each other, but sometimes follow each other, sometimes travel alongside each other, sometimes cross paths and sometimes divert around the invisible obstacles of language, culture and modality.

I had wanted to make a piece that placed BSL – one of Scotland’s indigenous languages – alongside some of its siblings, that demonstrated how these languages live alongside each other everyday, forming the rich weave that is Scotland.

And I had wanted to create work that might in some way allow those who do not sign to begin to encounter the beauty of sign language poetry.

Sadly the second piece, which would have seen a work of Christine’s translated into BSL, remains on the drawing board. But perhaps its time will come.


A strange urge

I recently popped into Bristol’s Arnolfini to immerse myself in the brilliant Table of Contents: ‘a durational movement installation co-created by Siobhan Davies, Andrea Buckley, Helka Kaski, Rachel Krische, and Matthias Sperling, each using their own history as a choreographer and performer to question how dance is archived.’

This was a wonderful series of pieces performed interactively with the public; each dancer taking it in turns to lead or direct a work. Amongst these glittering gems a very simple piece caught my imagination.

The dancers each invited a member of the audience to work in partnership with them. Each dancer then laid down on the floor. Their partner simply had to instruct their dancer to stand up, movement by movement. The dancers were very reasonable, but very disciplined in following their instructions precisely.

The difficulty of this simple task quickly became clear, with dancers contorted into all sorts of unsustainable shapes.

The piece succinctly demonstrated the limits of spoken language, of logos.

Yet I couldn’t help musing that if the partners had been able to give instruction through any natural sign language, the task would have been achieved quickly and efficiently.

Australian scholar Dorothea Cogill-Koez has argued that the elements of sign languages known as ‘classifier predicates’ are remarkably similar to ‘typical systems of visual representation’, such that sign languages use ‘two equally important channels for conveying explicit propositional information, the linguistic and the visual’. Although I disagree with some of the further detail of her argument, that sign languages do not always have to rely on the linguistic to communicate information was a premise of my own doctoral study.

Because sign languages can visually represent the physical acts involved in standing up, the communication would have been conveyed much more easily, the dancers spared their agonies.

But more than that sign languages are languages that are inscribed through the body; they are body-conscious languages operating through, around and in relation to the body. Sign language helps me to locate emotions and sensations in my body, to read them in others, and it provides a physically-centred orientation in the world. What was so striking about the struggling speakers at the Arnolfini was how very dis-embodied their speech was.

So why did we ever adopt it as a form of communication? What were the evolutionary advantages to the urge to speak?

Although deaf people are often very noisy signing can be a remarkably quiet form of communication (good for hunting), and is much more efficient across distance. It is very useful in noisy environments, too. The only advantage speech offers, as far as I can see, is that it can be used in the dark (although in one’s humble opinion using sign to communicate on the body of another in intimate situations is far preferable).

So did humans find a sudden need to hunt only at night? When did all the lights go out?

Isn’t it time we switched them back on so we could all see each other more clearly?


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