Dealing with the body’s capacity to hold on to apparent contradiction, “ghosting” seeks to tell multiple stories, and take on disappearing/reappearing subjectivities. My travelling self, my public, domestic and private selves, and their biases aim to activate dialogue across various domains into a personalised framework.
By bringing my voice as a privileged woman into the continuous present, I deal with the costs of the history of violence to the real and actual bodies today - including my own. Through dancing, I attempt to reset the frame of gazing - with the norms of theatrical encounter, the internet and social media as my tools - and invite audiences to pay attention to what has disappeared and can reappear.
Critical questions of my artistic practice, “ghosting”: - How can “ghosting” generate ways of practicing “the female gaze”? - How do our physical bodies govern our lives? How might we transcend the physical? - How might the act of dancing liberate a person from rigid realities and/or create new conditions for being-in-the-world?
GHOSTING is a danced research of practicing the "Female Gaze". Using the label of “ghosting” to immediately suggest multiple readings, and emphasising the continuous present, the dancing body de-centers hierarchic and hegemonic narratives through claiming the body's fundamental right to be secure, to relate, and to be seen in public space - in other words, to perform itself.