We have watched Kate Weare’s work develop for some time now. Nearly a decade ago, when Weare won The Joyce Theater’s 2007 A.W.A.R.D. Show!, a contest developed to identify emerging choreographic talent, we took notice right away.
Since that time, her work has returned to The Joyce on several occasions. Weare has been granted three Joyce Creative Residencies, and in her most recent, she began to develop Marksman, which will be presented at The Joyce November 9 - 13.
We are consistently impressed with Weare’s choreographic clarity, originality, and intensity. She astutely explores identity, relationships, and power dynamics through the physical realm: the moving, breathing, human body. Her work, which Deborah Jowitt has aptly called “disastrously beautiful,” is always developing, and yet presents a consistent vision. Hers is a world that is as haunting as it is tender, full of individuals who are as powerful as they are vulnerable.
With Marksman, which features an original score from composer Curtis Macdonald and set design by artist Clifford Ross, Weare uses the metaphor of “taking aim” to dive deeply into the the power and vulnerability of the hunt. It’s the perfect subject for an artist whose movement already whirls and snaps like an arrow and bow, and whose dancers approach that movement like tigers.
Here’s a note from the choreographer herself, about Marksman.
I marvel at the sheer willfulness of natural formation; a tiny sprout ruptures the earth on its way out, the sea rhythmically rubs a sharp object smooth. I’ve always experienced a life force - this willfulness - in my own nature, and equally recognized it in human nature. After giving birth several years ago, I felt that willfulness transform. I had experienced my body for the first time as an instrument of nature and nothing in me felt the same.
The title of this dance is drawn from a book of the 1950's called Zen in the Art of Archery, chronicling a German man's attempt to learn the ancient art of Japanese bow marksmanship. He’s humbled and changed by his journey, coming to recognize that control is an illusion. Exploring weight and energy is intrinsic to dance, but in Marksman, I allowed myself to explore the interstices, the spaces between what is formed and what reacts. I was moved by a mysterious concept of “forming while being formed, playing while being played, aiming while being aimed,” so beautifully articulated in the book. As human beings we practice willfulness and seek control, but nature pours through us still; it is this balance I am seeking.
- Kate Weare
We invite you into this new work with us.