For me the stage is a space for running simulations, in the sense of artificial systems and processes. As such, I am a computational object when I enter the stage space. I yoke myself to the weird ideas of systems behaviour and emergence. I objectify myself in a way, even if the object is strange and novel. On the stage or in the studio, I can run tests on groupings of choreographic phenomena, I can tinker with their properties, tendencies and relationships until I find combinations that etch out an emergent structure or behaviour of some kind.
I am working on currently working to apply these principles to the material found in the duties of the ‘hype man’, a definition of whom can be found in Wikipedia:
“A hype man in hip hop music and rapping is a backup rapper and/or singer who supports the primary rappers with exclamations and interjections, and who attempts to increase the audience’s excitement with call-and-response chants.”
In this case, there is no rapper or singer, just two hype men. The function of the hype men is simply to increase the stimulation of the audience. Without another performer, or even music to refer to, the hype men can only refer to themselves. They hype the hype. Or does the hype hype itself? Who’s hyped, and how? These are the questions that guide us.
is a NZ artist living in Berlin, Germany. With experience and training in dance, circus, theatre, electronic music and contemporary art, his work has explored choreographic possibilities found in the internet, objects, subcultures and masculine identities. His current artistic interests are situations and physical systems. He has worked with a number of NZ and international artists over the last 20 years, and in 2016 completed his Masters studies in Solo/Dance/Authorship at the Berlin university of the arts. He has performed his own work in Germany, Sweden, Romania and New Zealand.