The performance unfolds at a regular pedestrian intersection, symbolising the intersection of lives, stories, and experiences. It begins with intimate, private journeys that gradually evolve into grand representations of collective exodus—evoking images of those fleeing conflict and deprivation. Through this progression, ‘Crossings’ invites the audience to confront the urgent realities faced by individuals grappling with social oppression, discrimination, and cultural exclusion.
As the performance unfolds in short bursts, participants engage in various activities, each movement a deliberate choice reflecting their narratives. The choreography evolves, beginning with simple adaptations to walking and gradually escalating to intricate group formations. This accumulation of movement not only enriches the visual tapestry but also infuses the narrative with layers of meaning, illustrating the complexity of human experience.
The intersection, often overlooked, emerges as a dynamic canvas for expression. It is a site of travel, interaction, and sometimes conflict. In this multifaceted space, the performance highlights moments of connection and resonance, challenging the notion of public art as accessible only to a select audience. Instead, ‘Crossings’ endeavours to engage and provoke thought among passers-by, making the act of performance a dialogue with the public.
As the spectacle builds into a crescendo of sound and movement, the narrative arc becomes increasingly clear. Each character contributes to a collective story, inviting observers to reflect on their own journeys as well as those of others. In this way, ‘Crossings’ not only showcases the beauty of movement but also underscores the responsibility that comes with creating art in shared spaces.
Through this immersive experience, the audience is compelled to consider and engage with pressing societal issues, reminding us that art has the power to confront the challenges that bind us all.
Crossings shares an important story about communities affected by the small boat crisis on the South Coast, particularly in Folkestone. It started in 2015 when I looked into borders and migration as the lead artist at the Venice Biennale. Moving to Folkestone in 2016 changed my view, but it wasn't until late 2018 that small boat arrivals became a major issue. What was once new is now a common experience for residents, who share their stories about refugees seeking safety. The presence of temporary housing like the Napier Barracks reflects the region's complicated relationship with these movements. Folkestone and Dover, the nearest point to France, are key to this urgent conversation that those affected must participate in.
Crossings is a story that demands attention, ideally told within the very communities affected by the ongoing humanitarian crisis of small boats landing along the South Coast, particularly in Folkestone. This narrative finds its roots in 2015 when I served as the lead artist for Venice Agendas at the Venice Biennale, where the theme of Crossing Boundaries sparked my exploration of the intersections between borders and migrations. Relocating to Folkestone in 2016 marked a significant transition in my perspective; however, it wasn't until late 2018 that the arrival of small boats began to escalate into a pressing issue. Since then, this once-unfamiliar occurrence has become a regular part of life for many residents, who now share personal stories regarding the boats and the refugees seeking solace on the shore. The presence of temporary accommodations, including the controversial Napier Barracks, underscores the region's complex relationship with these movements. As the closest landfall from France, Folkestone and Dover are uniquely positioned, giving weight and urgency to the discourse surrounding these crossings—a discourse that must be thoughtfully engaged with by those who live it.
Crossings tells a crucial story rooted in communities affected by the small boat humanitarian crisis on the South Coast, especially in Folkestone. It began in 2015 when I explored borders and migrations as the lead artist at the Venice Biennale. Moving to Folkestone in 2016 changed my perspective, but it wasn’t until late 2018 that the small boat arrivals became a significant issue. This once-unfamiliar event is now commonplace for residents, who share personal stories about refugees seeking safety. The presence of temporary accommodations like the Napier Barracks highlights the region's complex relationship with these movements. Folkestone and Dover, the closest landfall from France, are central to this urgent discourse that those impacted must engage with.
Crossings: An Outdoor Performance Work on Journeys
In the heart of a bustling urban landscape, ‘Crossings’ seeks to capture the essence of journeys—both physical and emotional. This outdoor performance transcends mere movement, serving as a poignant reflection on the myriad travels undertaken with the hope of safe arrival.
The performance unfolds at a regular pedestrian intersection, symbolising the intersection of lives, stories, and experiences. It begins with intimate, private journeys that gradually evolve into grand representations of collective exodus—evoking images of those fleeing conflict and deprivation. Through this progression, ‘Crossings’ invites the audience to confront the urgent realities faced by individuals grappling with social oppression, discrimination, and cultural exclusion.
As the performance unfolds in short bursts, participants engage in various activities, each movement a deliberate choice reflecting their narratives. The choreography evolves, beginning with simple adaptations to walking and gradually escalating to intricate group formations. This accumulation of movement not only enriches the visual tapestry but also infuses the narrative with layers of meaning, illustrating the complexity of human experience.
The intersection, often overlooked, emerges as a dynamic canvas for expression. It is a site of travel, interaction, and sometimes conflict. In this multifaceted space, the performance highlights moments of connection and resonance, challenging the notion of public art as accessible only to a select audience. Instead, ‘Crossings’ endeavours to engage and provoke thought among passers-by, making the act of performance a dialogue with the public.
As the spectacle builds into a crescendo of sound and movement, the narrative arc becomes increasingly clear. Each character contributes to a collective story, inviting observers to reflect on their own journeys as well as those of others. In this way, ‘Crossings’ not only showcases the beauty of movement but also underscores the responsibility that comes with creating art in shared spaces.
Through this immersive experience, the audience is compelled to consider and engage with pressing societal issues, reminding us that art has the power to confront the challenges that bind us all.