In a Landscape (1995)

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The music and influence of John Cage is peppered throughout Peggy’s work, and it all began back in 1995…

“Pianist Andrew Burashko and I often gave one another books or CDs as gifts, and for our opening night at The Kitchen in New York in 1995, he gave me a CD of solo piano music by John Cage performed by Stephen Drury. The first track on the album was a piece from 1948 entitled In a Landscape. I instantly feel in love in with the music’s gently cascading melodies and the cresting and lulls of its compositional asymmetries. I lucked into an opportunity to perform a new work for fFIDA, (Toronto’s sadly no-longer Fringe Festival of Independent Dance Artists), and because Andrew was elsewhere, teamed up with pianist Henry Kucharzyk for the premiere.

The music took me inside of what I described then as my “creature body” – an interior world of sensations and movements riding the contours of joints and the pathways of blood, bone and muscle. The cycles of ritual that emerged elicited fragile balances and distortions that carved the lines of movement like the scarring and pruning used to cultivate a bonsai. Though this dance is brief, it moves through a timeframe that opens and elongates every second. The original staging of this work included a stunning costume by Jane Townsend – a kind of cocoon for the torso that left my bare arms and legs looking like the appendages of an insect – and a set of sculptural pieces by Kurt Swinghammer, some of which glowed at various times. Marc Parent, who lit this original version, later created a completely different treatment that called on the dancer to navigate a constantly morphing circle of light (imagine a rotating lava lamp projected onto the floor) that was devilishly difficult to balance within and which gave the impression of a dancer moving on a surface sliced out of the Milky Way.  

I hold dear performances of In a Landscape with Henry, and later, and over many years, with Andrew. Performances of this dance by others, most especially Christopher T. Grider, Tanya Howard and Andrea Nann, have moved me deeply. “ PB

"A finely crafted solo, with carefully articulated movement perfectly matched to a John Cage composition." - Lewis Hertzman, Dance Magazine

“The estimable Andrea Nann puts her personal stamp on Baker’s 1995 solo In a Landscape; the choreographer’s own remembered presence in the same work hovers like a distant echo.” - Michael Crabb , The Toronto Star

Listen to Kurt Swinghammer being Interviewed by Steve Waxman here on The Creationists.
Watch the documentary John Cage. From Zero here on YouTube.

Brahms Waltzes (1992)

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This week we arrive in 1992 and look at Peggy’s third major solo created on and for herself, the timeless Brahms Waltzes:

“An invitation to bring a solo program to Peterborough through Public Energy Performing Arts came with some commissioning money for a new work, so Brahms Waltzes marks the very first work of mine to garner to an investment in my choreographic development by a presenter – trailblazing contemporary dance champion, Bill Kimball.

Although having a pianist perform with me for the premiere far exceeded the scope of the budget for this run with Bill, the choice of an early work for piano by Johannes Brahms was certainly inspired by the possibility of having Andrew Burashko perform with me at some point in the future.

Annabelle Gamson had taught me Isadora Duncan’s dances to the same series of waltzes, and I curious to see how I might respond to the music myself. As I developed the choreography I could feel myself weighing the many influences on my dancing and asking myself what to let of go, what to go beyond, what to get deeper inside. I think I kept coming back to this dance as a kind of touchstone because it holds that time of transition so transparently.

Brahms Waltzes rides the uncomplicated joys of the music, but it also holds two central metaphors: sleep as an integrating force during a time of personal change and growth, and the demarcation of a new period in one’s life as the crossing of a threshold.” PB

"Mixes graceful lyricism with an economy of gesture and even moments of complete stillness in a solo that spans explosions of power with almost meditative serenity.” - Michael Crabb, The Toronto Star

Peggy gifted this work to Kate Holden and Jessica Runge as part of Year One of her Choreographer’s Trust project. Find out more about The Choreographer’s Trust here, and read about Kate’s reinterpretation of this piece as this body of memory / Brahms Waltzes in The Toronto Star here.

To read more about sleep as a metaphor in art and dance, read this article in The Huffington Post.