Thursday, 8 September 2016
Myself and Maya Chowdhry (who took this pic) have been researching for a new immersive walk - in Aberdeen. As with previous walks I'm interested in how to fuse the past and present of a place with a potential future. Peeling back the layers that are both visible and invisible in the architecture, landscape, waterways. So we've been walking the city, in search of locations from which to anchor our walk and draw characters.
What most impressed me on our first research foray around Aberdeen, in fact when I first arrived in Aberdeen, was the sight of huge container ships right in the centre of the city - the harbour nubbing up to the train station. Of course the port has made the city - from the herring industry to oil - the migration of people in and out through the docks. I like how their presence is still so very visceral, the cargo ships and passenger ferries still using the dredged harbour, bring the water and that traffic right to the flux of the city.
Because we are exploring how to connect our work to some of the themes found in Dickens' work I was thinking about slavery, child slavery in particular, and how that industry is still very much in evidence. Also, there are plenty of stories of stowaways who have arrived in Aberdeen over the years via the the hulls of ships, people escaping one life for another. The secrecy, fear, shame and desperation of this act seems so incongruous in comparison to the bright enormity of the ships in the harbour.
Add to this mix, my reading and loving the speculative fictions of Margaret Atwood, especially the Oryx and Crake trilogy, in which people are modified, or modify their own bodies, for the benefit of others. I wanted to fuse both these forms of slavery - the past and present immigrant who indenture themselves in order to be given horrific transportation across waters - and those forced into 'service' industries where they are then 'adapted' to fit a certain stereotype of desirability. Atwood took it one stage further with her prostitutes being given reptilian skin.
So, enter the 'swangirl', who appeared from these elements, with her question: what does love feel like for you? She is a runaway, found at the dock and forced into indentured service, and has her appearance radically altered to safeguard her: looking as she does, what else can she do? Where can she go? Who would recognise her? How can she reintegrate herself into society with the modifications made to her face and body?
As a character, she is still 'in development' and it may be she comes from Norway. In the future that is her home, oil doesn't have the value it once did. Norway is a less stable, affluent country. Migrants come from the north as much as they do from the south. It may be this new life, as performer, some how suits her. It may be, she is a portent of a new, nightmarish genre of performance. It may be, she is catalyst for hope... I need to keep walking and staring at the granite light