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Unspoken Trust

Unspoken Trust
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"Unspoken Trust" is a art-dance installation directed by Candess Giyan and Sabin Aell. Our intention is to explore our personal tendencies towards over-saturation and desensitization and to create work in unusual spaces in unusual ways and to develop intimacy between performer and viewer in a shared performance environment.

Details

Daughter Cells is a group of independent artists representing a variety of disciplines, in collaboration since June of 2012, directed by Candess Giyan.  The intention with "Unspoken Trust" is to inspire an inquiry into the concept of presence through interactive performance and human connection that parallels our own year long artistic exploration of emptiness, in which we discovered that creativity and human connection inspire an emptiness in which presence emerges. Our journey together revealed our personal tendencies towards over-saturation and desensitization in our own lives, and the empty feeling that ensues. 

We find ourselves full of other people's ideas and our own mental chatter, while lonely and disconnected from each other.  Our weekly meetings of movement and dialogue contrasted starkly with our over-stimulated lives.  We stumbled upon the truth that the soothing balm for inundated senses is simply coming together, and responding to each other through art.  We choose to be present with each other, rather than remaining hostage to the information-overload of everyday life. "Unspoken Trust" feels empty in contrast, while also feeling rich with possibility and profoundly supportive. Our artistic process together has been personally transformative for us, and we are moved to extend a similar experience to our larger community, organized as an interactive performance and workshop. Our show is embedded with specific strategies to elicit audience participation and connection.

HINTERLAND art . space owned by Sabin Aell will be our performance venue which will create an intimate platform for our audience. A gallery setting will remove the traditional separation between audience and performer, creating an environment of connection, where both performers and audience may question who is actually performing and who is observing. In addition to our thoughtful selection of venue, we promote audience participation choreographically, as well.  In one section, for example, audience members experience first-hand, overstimulation that leads to emptiness. The section is a over-indulgent affair, complete with catwalk, self-absorbed models in decadent garb, live music, and a voluptuous cake on display and within arm's length from observers.  The guests are, of course, never offered cake but, instead, handed a sliver of cold, unadorned iceberg lettuce. On a sensory level, our attendees are guided to feel deprived amidst an over-abundance of something one might not choose, anyway.  

Further, we have designed an interactive experience that cultivates a sense of fulfillment through audience/performer connection and collaboration. Upon entering the performance space, for example, audience members will be invited to participate in a brief, recorded interview about emptiness that will later become the sound score for choreographed movement.  In this way, our audience engages in the same subject matter that has inspired our dancing. The textured weaving of audience voice and choreography reminds us that we are not alone in this human condition. Performers and audience receive the gift of multiple perspectives on a common theme. Our production team is composed of 4 talented women, all seasoned performing and/or visual artists, with extensive teaching, directing and production experience in their fields of expertise.  Each of us, in our professional lives, holds a track record of dedication to exploring the relationship between art and people, and inventing new ways of bringing the two together.

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