Tell us a little bit about the idea behind the original version of your piece "Of Kiltering".
The original idea for "Of Kiltering" encompassed several notions of balance. One could watch "Of Kiltering" and think only of the balance of space, that is, where and how the dancers are distributed throughout the stage space. However, I was also contemplating the balance of relationships, the balance of power, and the homeostasis of power that groups fall into. I was so fascinated by balance at the time (2006), that I asked each dancer how much they weighed hoping that I could somehow figure out how to balance the stage mathematically by adding the different weights together. That didn't go over so well with the dancers.
At the time, I was also reacting to my somewhat new environment: the cast is matched in number and in gender to that of the Emory Dance Program full time faculty. I'm not making any direct statements about my colleagues with this work, but like all groups the balance of power shifts between us.
Why did you choose to take this particular piece "out of the vault" and not another one of your works?
I considered bringing back several pieces but I was able to cobble together a great cast of student dancers that matched the number and gender of dancers needed for "Of Kiltering". Furthermore, it is one of the pieces that I really like, which is unusual. I find most of my works abhorrent a year after making them.
Looking at it with fresh eyes I see that it started me down the path of the work I'm doing now. The evening length works I create take a subject and approach it from many different angles. "Of Kiltering" is a mini version of that formula.
What about this new version is different from the old one? How do you think these changes affect the work?
In the old version there was a section where Lori Teague and I were attached to ropes that went through a pulley system above the stage and attached to the two chairs that are used in this piece. As we moved through the space the chairs would fly up and down. I was really trying to get at the visual balance of vertical space. The mechanism was also a kind of upside down scale. The section worked in and of itself but stood out as something foreign within the work as a whole. We ended up cutting it for a version at the Modern Atlanta Dance Festival.
In this new version I added to a trio section that focused more directly on the balance of power. The trio is kind of comical and I always felt that it got short shrift in the original piece. I also feel that this change has allowed me to tailor the work to the talents of these particular dancers. I'm pleased with the new "Of Kiltering".