Raw Goods

Raw Goods

A concert of new dance and live music

Loud Speaker by Pete Stollery is an exploration of spatial manipulation – the real and the unreal – through different artforms: sound, visual imagery and two dimensional art. Nude Moves draws on figure studies from Michelangelo’s sketchbooks and has a new musical score composed by Charlie Barber.

The programme also includes the premiere of Staring Into the Abyss – a new musical work by Orlando Gough, the outrageous Conga-Line in Hell by Uruguayan composer Miguel del Aguila and works by the grandfather of American experimentalism John Cage and Mahattan’s enfant terrible David Lang.


Music direction: Charlie Barber

Musicians: David Appleton (piano), Tim Wright (percussion), Harry Fowler (percussion in Barcelona)

Dancer: Andy Howitt

Set design: Angela Evans

Lighting design: Neil Marcus

Technical assistants: Christopher West, Jennifer O’Connell, Lisa Hall

Calendar

19.05.98CARDIFFChapter Arts Centre
21.05.98LONDONSouthbank Centre, Purcell Room
23.05.98SWANSEATaliesin Arts Centre
07.10.98ROTTERDAMTheater Lantaren/Venster
12.06.99BARCELONAMarató de l’Espectacle

With the financial support of: Arts Council of Wales, Musicians’ Union

Reviews

“Howitt’s solos have a chunky fluidity to them…NUDE MOVES is Howitt at his energetic best, a mass of glowering energy confined in a small dance area”  Don Morris, The List

“…This brings us to the evident homo-erotic beauty of Michelangelo’s male bodies, which likewise were the source of inspiration for Nude Moves, a solo, danced naked by the Scottish dancer Andy Howitt. Howitt is a man of muscular build, who, nevertheless, moves with an astounding grace. His robust body alights almost soundlessly on the floor then bounces up with feline elasticity. In Nude Moves Howitt seems to weave together various stylized poses of Michelangelo’s male nudes to form a dance solo performed within a framework of some few square meters of yellow floor. Given the limitations of the available space, the choreography is decidedly impressive.” Martin Bijkerk, Rotterdams Dagblad

Images

Programme


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