Strangeland Triptych is premised on the question: how does neo-conservative rule manifest in the body?

In apoliticaldance (2006), community and intimacy are revealed as physical conceits strangled by repetition, banality, insecurity and fear.

In The Dispossessed (2008), these physical conceits are filtered through the literary tropes of Michel Houellebecq’s ‘The Possibility of An Island’, Cormac McCarthy’s ‘The Road’ and Samuel Beckett’s novella ‘The Lost Ones’ creating a fictional, fantastic circumstance of constraint and deprivation.

In strangeland (2009), the physical and the literary terraform a landscape of the future through an embodied algorithm of ‘forever pain’ and human suffering.

In each performance panel, the Triptych deepens an ambient strategy using a physical language that crosses krumping with liturgical dance, body-slamming with voguing and Australian Rules Football with modes of locomotion based on shuffling, stepping, walking and gliding. This language bleeds from NYID’s signature training system, body listening, that enables visceral communication between performers, and between performers and audience.

It is the body that manifests our fears, our neuroses, our true sensibility. It is the body that shows us what we are when our mind deceives us.