Cover Maciejewska in action for ‘Loïe Fuller: Research’ (Photo: Martin Argyroglo)
Maciejewska in action for ‘Loïe Fuller: Research’ (Photo: Martin Argyroglo)
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The choreographer and dancer brings her mesmerising interpretation of Loïe Fuller’s historic serpentine dance to Hong Kong
Polish-born, Paris-based choreographer Ola Maciejewska will be showcasing two performances at M+ on May 12 and 13 as a part of Dance Reflections—a dance performance series organised by Van Cleef & Arpels and co-presented by Le French May. The performances are inspired by Maciejewska's research into the work of American actress and dancer Loïe Fuller (born Mary-Louise Fuller).
In 1891, 30-year-old Fuller invented a highly expressive style of dance known as the “serpentine dance”, which consisted of sweeping, improvised movements that were accentuated by voluminous silk costumes and dramatic stage lighting. Grown from the burlesque skirt dance, serpentine dance also incorporated elements of can-can and ballet, even though it was also a rebellion against the rigidity of classical dance forms such as ballet.
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Above A still from Loïe Fuller’s 1902 performance (Photo: Getty Images)
A still from Loïe Fuller’s 1902 performance (Photo: Getty Images)
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In 1892, Fuller, who hailed from a small town in Illinois, packed her bags and left the US for Paris in search of artistic recognition. And in the City of Lights she found herself—and her new dance style —the subject of inspiration for theatrical performances, films and even for later artworks from the art nouveau movement (a movement that started in the 1880s, in which a group of artists sought reform through art).
However, Fuller wasn’t considered a dancer at first by the western dance community, which perhaps lent itself to her pioneering spirit and drove her to conceive a unique dance style that merged movement, lighting, colours, music and fabrics. This established her not only as an influential artistic figure but also as someone who played with the intersection between performance and visual arts.
It was this same pioneering spirit that drew the attention of Maciejewska, who praised her foresight and innovation: “It’s the fact that she was rejected from dancing, and only became recognised later, as well as the fact that she was working with the idea of movement in general, not just movement of the body,” says Maciejewska.
Above Ola Maciejewska’s work falls on the spectrum between performing and visual arts (Photo: Jolanta Maciejewska)
Ola Maciejewska’s work falls on the spectrum between performing and visual arts (Photo: Jolanta Maciejewska)
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Like Fuller, Maciejewska’s work falls on the spectrum between performing and visual arts, and her interpretation of Fuller’s serpentine dance, entitled Loïe Fuller: Research, has been performed at the Centre Pompidou in Paris, the National Taichung Theatre in Taiwan and the Royal Opera House in London. On May 12 and 13, local audiences can watch Maciejewska’s Loïe Fuller: Research at M+, as part of Dance Reflections.
For her interpretation, Maciejewska incorporates yellow silk in her performance and progressively manipulates it around her body. Her movements throughout the performance seeks to understand the nature of silk and its relationship with her body, and makes it increasingly difficult for viewers to discern whether the dancer is moving the silk or if the silk is moving the dancer. And “it could be both at different times—there’s this built-in hybridity I find interesting,” Maciejewska says.
Above A still from Maciejewska’s “Bombyx Mori” (Photo: Martin Argyroglo)
A still from Maciejewska’s “Bombyx Mori” (Photo: Martin Argyroglo)
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Maciejewska considers her interpretation of Fuller’s work as a deconstruction, which is why certain elements, such as lighting design, which was essential to Fuller’s work, is missing in Maciejewska’s. The deconstructed presentation, being much simpler, allows the viewers to focus on material and movement without the distraction of the spotlight. Maciejewska explains that removing the dramatic lighting design can heighten viewers’ other senses and allow them to perceive the work differently than it was originally intended. “I want to emphasise a quality that really engages and challenges our visual perception, and experiments with [how light can impact] what we see and how we see it.”
Bombyx Mori, another Fuller-inspired performance that will also be showcased at M+ and will feature three dancers, including Maciejewska herself, represents silkworms, which have become entirely dependent on humans for survival, and the complexity and interconnectivity of organic relationships.
For this performance, black synthetic material will replace the silk, but the movements will similarly have the dancers manipulate it throughout the performance: “I enjoy using my body to make a sort of sculpture in textiles,” Maciejewska says.
In addition to Fuller’s work, Maciejewska is also inspired by other female abstraction artists and performers, including Brazilian sculptor Simone Forti and American installation artist Lygia Clark, who are among the many female artists whose work has historically been overshadowed by their male counterparts.
Drawing from historical figures, and documenting and reinterpreting their work is important to Maciejewska—it is her way of keeping their contributions to visual cultural history alive, and to present them in a contemporary context for future generations. “I think my work itself is a documentation,” says the choreographer. “It also functions as a transmission to other dancers, cultural practitioners and audiences.”
Aaina was the Arts and Culture Editor of Tatler Asia. A passion for history and all things visual led her in the pursuit of art history. With extensive experience in the art world working for a range of art institutions, she combined her passion and expertise in the form of art and culture journalism. Prior to Tatler, Aaina worked as a culture reporter for South China Morning Post and editor at the online art platform Cobo Social. Additionally, she has contributed to a variety of prestigious art publications including Art Review, The Art Newspaper, Ocula, Art Agenda, Artsy, Design Anthology, and Artomity. Follow her on Instagram.
