MAXINE HEPPNER : CREATIONS
Nine Bronze Pieces
"Watching the work was like seeing with the ears
and hearing with the eyes."
Globe and Mail, Toronto, May 13, 2003
Nine Bronze Pieces: Description of work
Trio. 18 minutes. Created 2003. Evergreen Club Gamelan Commission.
Premiered in Yogyakarta, Bandung, Depok, Ankol (Indonesia). Presented Canada, EU, Australia from 2003-2010.
Reverberations. Vibrations. Successions of impulse, follow, trac, ride. Warmth of bronze reflected across floor to heart pulse. Sweetness of bamboo wind. Melodies of bones. Sharp strike. When a man reaches his hand to help a womanrise fromthe floor their combined energy mingles in the palms of their hands. When drum-han-feet-breath Nine instrumentalists playing 0 sections equals 9+9=18 > one full figure 8 linked with 3 dancers mirroring 3 facing 3 = 8 when intersected become four-petalled flowers... Nine Bronze Pieces sits at intersections between phsical impulses of dancers-and-musicians and the dance-music they make perceivable.
Maxine is ever grateful to Mark Duggan for sharing his "Gamelan Solo" that led her to clrify the inner impulses of her movement form, and the reverberations that connect collectibe experience with individuality and self-expression
Support for Creation and Tours: Canada Council for the ARts, Toronto ARts council, Consulate General of Indonesia in Toronto, Studio Hanafi, Tony Prabowo. Also thanks to Older & Reckless, CanAsian Dance Festival and The Evergreen Club.
Nine Bronze Pieces : reviews
Globe and Mail, Toronto May 13, 2003
An ancient culture defined
REVIEW By PAULA CITRON Tuesday, May 13, 2003 - Page R2
Canada/Indonesia Friendship Concert at du Maurier Theatre Centre in Toronto on Sunday May 11, 2003
To mark the anniversary of 50 years of diplomatic relations, Indonesia's consulate-general in Toronto presented a concert featuring Canadian performing groups who have been influenced by Indonesian culture. Toronto choreographer Maxine Heppner joined forces with the Evergreen Club Contemporary Gamelan in original works, while Montreal sent its traditional gamelan orchestra, Giri Kedaton. For the Indonesians in the audience, it must have been a surreal experience to see their ancient culture interpreted by North American upstarts.
At the heart of the gamelan orchestra are different sizes of bronze gongs, both pot and marimba shaped, augmented by flutes, drums and cymbals. In Heppner's Nine Bronze Pieces, composed by Mark Duggan, the instruments interface with the dancers in delicate symbiosis. The score consists of nine different instrumental combinations, each one inspiring a separate dance idiom. Through a series of solos, duets and trios, the three dancers (Louis Laberge-Côté, Susan Lee and Eryn Dace Trudell) echo the various subtle shifts of sound performed by Evergreen's eight musicians as if each note were travelling directly through their bodies. Heppner is a very precise choreographer. Thus, when a dancer moves a hand, it is in response to, or initiating, a musical element. Watching the work was like seeing with the ears and hearing with the eyes. Whether the dancers were standing in one place moving the body in gentle undulations, or leaping and turning about the stage, the dance and music was in total integration.