Sirensong has explored the themes of water, women and transformation
in three works todate. Based on Celtic myths of mermaid-women, Fish
Out of Water (1997) explored symbolic associations between women and
water and traced one woman’s journey back to her sea environment. The
solo performance Dressed to Kill (1998) used dresses as symbols to explore
the personas we take on and discard. Then in 1999, Sirensong received
support from the City of Melbourne for the creative development of Walk
on Water, which united these themes into one piece and placed it in
the unique architectural site of the Melbourne City Baths.
The creative development phase of Walk on Water allowed the company
to make practical and artistic discoveries. Deep water and shallow water
was explored for metaphorical possibilities. The use of fabric and the
corrosive effects of chlorine were explored. Experiments with floatation
devices enabled the possibility of dancing on the water’s surface. Health
and safety issues such as slippery surfaces were recognised and Bronze
Medallions gained. All these things became part of a rich and rewarding
process as imagery was discovered for this evocative, exciting work.
The space itself became central to the piece, informing the outcomes
rather than merely providing a backdrop to them. Built originally in
1860, then re-built in 1904, the Women’s Pool echoes with the ghosts
of women who have used the facility for decades. The intimacy of the
space, its separation from the adjacent men’s pool, the symbolism of
the bathing boxes and the water itself, all resonate deeply into the
work. Walk on Water’s themes of women’s relationship with water and
its meaning in our lives socially, spiritually and psychologically are
embraced and enhanced by the space itself.
Four showings to 159 peers and associates were then presented in May,
1999. Feedback was sought via a formal questionnaire, under the categories
of imagery, sound, costuming and form, with a view to extending the
work. A mentor team of directors and choreographers - Andrew Morrish,
Don Asker, Kirsten von Bibra, Kim Durban and Chris Thompson - provided
guidance throughout the creative process, as well as extensive constructive
criticism after the showings.
These reactions were then absorbed, filtered and carefully evaluated
in preparation for the full production period.
