The Next 14 Seconds | Phluxus2 Dance Collective
Image credit: Jade Ellis
The Next 14 Seconds was a deliberate invitation to witness a measured and constructive act of embodied entropy. The contemporary dance performance which predicated itself on the premise of unpredictability of the expansive cosmos above us as well as the multiplicity of worlds we tend to build, tear down, and consequently experience within and outside of ourselves was both challenging and exciting to watch.
The dynamic synergy of movements and vocalization articulated by the performing artists gave rise to a barrage of information which bombarded my senses. In the process of decoding and distilling all that I was perceiving, my mind scrambled to activate schemas and pin familiar narratives onto the visual chaos unfolding before me.
Image credit: Jade Ellis
In the eternal passage of time, a duration of 14 seconds is as significant a container of life-altering minute moments as it is unremarkable in effecting a series of cataclysmic changes. It was in this paradoxical spirit pregnant with the potential for possibilities of all kinds where dancing bodies adorned in futuristic-looking garb in tones of black and brown moved with intentional breathwork, morphed collectively into and as a shape-shifting unit, and vibrated as if electric charges were pulsating furiously through their veins.
Ben Ely’s and Haami Te Kuru’s sound design created a sonic backdrop which emanated a sense of otherworldliness. Wrapped in this aural cocoon of fresh vibes and funky beats, Nerida Matthaei’s dance-making genius thrived in the artistry of her ensemble of dancers. The execution of the choreography on the part of the dancers and the elevated level of investment they displayed in their storytelling underscored their conviction of viewing themselves as purposeful, provocative, and playful performers with meaningful messages to convey to members of the audience.
There was an impactful allusion to the toxicity of power relations when Jacob Watton was carried on a makeshift palanquin of sorts formed by his fellow dancers, Jade Brider, Hsin-Ju Ely, Georgia Peirce, and Asher Bowen Saunders. His creepy laughter and smug expressions brought to life by a persona whose physique was supported on the backs of his companion performers seemed to impishly reinforce the idea of how absolute power can corrupt absolutely. The unravelling of those scenes spoke to the oppressive nature of man-made hierarchies driven by the desire to regard and possess power as a commodity for controlling the masses.
Hsin-Ju Ely’s commitment to harness energy to work herself up into a vessel ready to self-combust was especially unforgettable. As the spotlight was thrust upon her, she became the ultimate personification of a social media culture maddeningly hungry for information which it voraciously consumes and readily regurgitates. Ely’s repeated actions of retching and then functioning in a mechanical way resulted in her character’s complete psychotic breakdown. A watershed moment in shifting the mood, pace, and messaging of the production, I noticed a marked difference in how the choreographic work began to unfurl for the rest of the show.
Image credit: Jade Ellis
Lisa Fa’alafi’s costumes complemented this change in the atmosphere. Donning leotards and looking like gymnasts, the dancers unexpectedly unleashed an arsenal of silly antics probing people to not take themselves or the setting seriously by engaging with them. Playfulness and gentleness reigned supreme at this juncture as dancers took on the role of agents of action, inspiring fleeting connections between themselves and the viewers and encouraging members of the audience like me to initiate these brief exchanges amongst us, too.
The Next 14 Seconds was, in essence, a call to recognise and embrace the humanity in friends and strangers alike in a matter of seconds. Its attempt to answer it in its uniquely unpredictable way was laudable.
