Meet the choreographers: Sarah Louise Kristiansen

Kaleidoscopic Arts Platform is excited to announce the final interview in a series profiling the upcoming choreographers and artists for our third platform, which takes place Tuesday, November 10th at The Galvanisers Union. 

Be the first to hear from the choreographers about their work and thoughts, and get an insight into their process and rehearsals.

Sarah Louise Kristiansen 1.73MBSarah Louise Kristiansen: As a dance maker Sarah Louise is on a mission to educate the public about the intelligence of dance. She does this by telling beautiful stories on stage, establishing connections with communities worldwide and allowing for discussions and conversations to open up with fellow practitioners and the public. It is Sarah Louise’s belief that dance (and the arts) have a profound way of changing lives and that embodied learning and its discourse have been lost or somewhat all together misrepresented. She is confident that the next generation of dance makers, including herself, has the ability to change this. For more info on Sarah you can visit the Kaleidoscopic Arts Platform Website.

‘Metallic Limbs’ is a physical theatre duet about the physicality of being alive and existing in a human body. Through spoken word and movement two performers take the audience on a journey into the deepest corners of their existence.

‘Metallic Limbs’ attempts to answer the questions: What does it mean to have a body that feels? Where do we store emotions and can we talk about limbs as a functioning organ for experiencing emotions? Through an intimate performance ‘Metallic Limbs’ strives to communicate the findings of recent research suggesting that the body senses emotions in different parts of the limbs.

We were fortunate enough to sit down with Sarah and ask her some questions regarding her work and interest in Kaleidoscopic Arts Platform.

image3Why did you want to take part at Kaleidoscopic Arts Platform?

I think platforms for young artists are very necessary in helping us establish an audience, and get an opportunity to develop our work. I’m also interested in different ways of showing my work – making pieces for venues that are not a traditional theater.

What do you enjoy the most while creating? 

Finding out new things about myself and making connections with dancers, collaborators and my audience. I enjoy seeing an idea form from just one thought and then it turns into something bigger. Although it can be extremely difficult at times, I love the process because everyone involved learns a lot and it teaches you about communication, leadership skills and creative problem solving.

What do you expect from your participation at Kaleidoscopic Arts Platform. How would this help you to develop your work further?

Probably by being affiliated with a company that promotes female choreographers which would broaden and reach new audiences. It is great because i get to connect with people who would not necessarily engage with my work.

It’s also a piece specifically made for the platform so I can work to a different set of criteria.

I hope to get out of it an ongoing partnership with Kaleidoscopic Arts – so that can promote the platform and the platform can promote me.

image1What is your outlook on female choreographers/artists? Do you have a strong opinion? Does your work reflect that opinion? 

I don’t necessarily think that my work is feminist and I’m not interested in creating work that’s about gender roles or female stereotypes. However, I’m interested in the womens position in the dance industry. I find that the industry at the moment has not managed to even out the playing field and we hardly see any top female choreographers. I am a woman and maybe my work is more sensitive because I am a women but that is not to due with the fact that I’m making sensitive work it’s just as a women, I see the world slightly different.

Why do you do what you do? What does choreographing mean to you? Essentially why do you choreograph? 

Essentially, I like to tell stories. I want to make people feel what I feel when I watch a piece of art.  I want to provoke people to think about their own lives, their stories and they position themselves in the world. I am interested in how we can change the way people consume their surrounding and make positive changes to their lives. I believe that’s why people make Art in general.

image2Anything else you want to say about your work?

“Metallic Limbs” is a very different piece to what I’ve been creating over the last year or so. I’ve taken my practise back to where I started by creating a physical theatre piece. It is about story telling and making beautiful moments in space with two beautiful bodies. I’m creating a lot of pieces at the moment that have really complex structures and intricate choreography, and the head kind of gets overwhelmed with information. For this piece, I am taking all of that away and going right back to basics.
I think is a really good challenge because it makes me think like I used to. When I first started making work everything was simple, and all of a sudden the work I found myself doing was very big and very exiting. It’s great because it means I’m developing as an Artist, but it’s also important to remember where you started and for me that was with theatre.

In a discussion about your work what would you want to address?

In a lot of my work I use poetry to position the viewer, both with a narrative and with emotions. I think I’m really interested in knowing when that becomes a necessity for making meaning of my work and when is it more like “sprinkle” on top of the cake.

Thank you to Sarah for giving us the time to talk about your work. We are excited to see it performed and honoured to have you represented as a choreographer for Kaleidoscopic Arts Platform.

For more information on Sarah you can visit her website.

To see her work at Kaleidoscopic Arts Platform you can buy tickets here.

We hope you can make it to the performance and have enjoyed this insight into what is to come.

Kaleidoscopic Arts Platform

This post was written by  Cecilia Berghäll.


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