I Liked it.... But | Joel Bray

The last time I saw a work Joel Bray’s it was 2019 and I licked icing sugar off his arm. A whole pandemic later and I find myself at a trivia night hosted by a man who I have licked in the name of performance art. A trivia night which is designed to make fun of the type of work that leaves two people bound forever by a single lick. Of course, there was no licking this time around, but Bray managed to make I Liked It… But memorable in other ways.

The format of the night aligned with what one would expect from a pub trivia night – casual vibes, live music, friends drinking and laughing together – the theme of the night’s trivia was a little less usual. Contemporary dance. Luckily, I ran into some friends, so I wasn’t competing alone. Spoiler alert: we did not win. However, it was reassuring to have multiple tipsy minds working together rather than just one.

The first round was a run-of-the-mill pop quiz style series of question all of which pertained to the history of contemporary dance. The second was a game of ‘dance-tionary’ which is like Pictionary, but the clues must be given via contemporary dance. This led to some delightfully awkward, giggle inducing, and deeply memorable audience participation, something I’m sure most would agree is a staple of pub trivia.

The work did feel a little self-congratulatory on Bray’s part from time to time, but this was very well balanced against the ‘tongue firmly in cheek’ tone of the night. As someone with contemporary dance training I found the jokes made at the form’s expense accurate and hilarious. However, I’m not sure how they would come across to someone who knows little to none about the form.

Bray himself seems very sweet and personable. He has a charm to him, but I would not necessarily recommend he go into trivia hosting full-time. The choreography he performed throughout was the highlight of his performance here. The musician onstage with him was phenomenal and I will be looking her music up online. All in all, I Liked It… But makes for a fun night out with friends where you can also learn a little something about dance history and the inner workings of a leading Australian dance artist’s creative process.

Tristan Niemi

Tristan (they/she) is an internationally accredited Queer Disabled multidisciplinary artist and activist with backgrounds in writing, theatre, dance, and music living and working on the unceded lands of the Jaggera and Turrabul people. Born and raised on the lands of the Yuwi people they moved to Meanjin in 2017 to complete a Bachelor of Fine Arts (Drama) at the Queensland University of Technology. During that time and since graduating they have produced poetry, prose, and performance works for numerous local and international publications, festivals, and production companies – including their self-published zine High Priestess Monthly.

They recently graduated from a Bachelor of Arts (Honours) with First Class in the field of Drama at the University of Queensland. Their research paper 'Steering Clear of the Wallowing Place: A Dramaturgy of Queer Tragedy' sought to develop a series of best-practice guidelines for playwrights and dramaturgs who seek to tell stories of Queer suffering without re-traumatising the audience they wish to represent. Tristan was able to present some of this research at the Australasian Drama Studies Association's annual conference towards the end of 2021 and aims to see it distributed as widely as possible so that real changes to way works about Queerness are framed can be made.

Personally, they hold a deep fascination of work that leans Queer and delves into themes of witchcraft and spirituality. Theatre is ritual and so seeing ritual made into theatre truly tickles Tristan's fancy.

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