Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with local dance duo and longtime Walker favorites HIJACK in aniticipation of HIJACK at 20. Listen to the entire podcast here.
I’ve interviewed HIJACK once before, for a previous incarnation of this podcast (TALK DANCE MPLS) in anticipation of their 2006 show, “HALF.” Even then, I felt that there was something about HIJACK’s resolute dedication to experimentation that required an altered interview format. In that case, the alteration was a portion of the interview where I took my questions out of the picture and let Kristin (Van Loon) and Arwen (Wilder) interview each other. I wanted to continue somehow on that path with this interview and remembered that Kristin and Arwen often use chance devices (a la Cage/Cunningham) in their choreographic process. I wanted to find a way to bring chance into our interview, so I devised a game that would determine the topic of discussion (e.g. Origin Story, Music/Sound, Job or Hobby) and the duration (30, 60, 90 and 120 seconds) allotted to discuss that topic at random.
HIJACK were totally game, and the pressure of time seemed to have great effect on how they chose to articulate their thoughts. Watching and listening to Kristin and Arwen attempt to fill time, compress ideas, cut to the chase and search for words was fascinating.
The interview ran about 40 minutes, and I’m attempting to make all the TALK DANCE episodes clock in at 20 minutes this season. So I was in a bit of a pickle as to how to edit their words while still honoring the wonderful ways in which they responded to the rules of the game. The answer was obvious, both Kristin and Arwen mentioned that their upcoming Walker commission redundant, ready, reading, radish, Red Eye, features a healthy dose of multi-layered text. Using that idea as a starting place, I decided to keep all (almost) of what they said and stacked it on top of itself while trying to make it as understandable as possible.
If you do listen to the podcast, I suggest listening with headphones. Here’s a smattering of their responses, preceded by the topic they’re responding to.
Kristin: They [the props onstage] were in a way, a way to approach the question of how to work with narrative. And I like how the objects stay the same and stay in place, left behind after they’ve been useful and used by the dancers, and in that way, express the past while the dance has moved on.
Arwen: Something that I think about design and HIJACK is how often we do our own… partly because we like the Do-It-Yourself, and because we consider [design] so much an intergral part of the composition itself, that it’s weird to outsource it. But also because we’re already collaborating and that is so much to add another voice into [the work].
On Why Dance?
Arwen: We sometimes have fantasies of being other things, like other kinds of artists, but we’re not, and then it’s fun to try to figure out how to get what we would get out of being those other artists, in dance.
Kristin: One reason I’m glad to choose dance is that I think of it as one of the most pathetic art forms, and I feel an affinity with pathetic forms such as print journalism, postal mail, sculpture…but now sculpture’s cool.
Arwen: I like to dance in silence. I like to make dances with silence. I like text a lot, and I like to try to figure out how there can be text in dance. And music is very mysterious and manipulative, and sometimes I like that problem….
Kristin: Not every word [in the show] can be heard because sometimes several layers of language are happening at the same time, and that’s been a real pickle for us to figure out if that’s okay. In general, I’m really into flat composition right now – everything layed out very plainly for everyone to see and hear, and those are some of my favorite parts, when the words are flattened out…
Arwen: Figuring out what is the line between inspiration and appropriation is massively complicated and interesting.
Kristin: …to make things interesting, it’s nice to have scores for what can I use and what can’t I, and sometimes those aren’t the legal ones.
Arwen: I’m reminded of being an activist, and everybody always talked about the ends and the means and how they had to match. And I think that is the same in choreography, the content and the form are the ends and the means.
Kristin: I love it when one slips from one to the other, the material does.
On High Culture/Low Culture
Kristin: There was an early version of this piece … that the sound score toggled back and forth between Stockhausen’s “Mantra” and Stevie Nicks’ “Edge of Seventeen”… I was very interested in the phenomenon of being in one of those and craving anything but what you’re listening to.
Arwen: I see the card “High Culture/Low Culture” and I think, oh that’s exactly what we’re interested in… and then I get really bristly at that and at those definitions and start to want to argue with the possibility of anything belonging to either of those categories.
Hear the rest of Jones’ conversation with Kristin and Arwen on the Walker Channel.
HIJACK at 20 takes place December 5-7 at 8 pm at the Walker’s McGuire Theater.