Public Property

A NOTE FROM THE CHOREOGRAPHER

In my initial musings for this work I was asking myself the question, “What happens in our own bodies when we watch someone else's?” 

I've always been fascinated by the body’s ability to communicate and evoke feelings and emotions. We all experience the world through our bodies, so I believe movement can create a kind of empathy that isn't just emotional or intellectual, but physical. Public Property began in this place of physical empathy.I wanted to create an opportunity for audiences to experience the work viscerally, where the body understands something before the mind has time to explain it. For me, this is one of the unique possibilities of dance.

This curiosity and fascination was sparked by Sydney Pollack's 1969 film They Shoot Horses, Don't They? I was struck by the intensity of my physical response to the exhaustion and desperation of the people dancing on screen - despite sitting comfortably on my couch. That experience made me wonder what the body is capable of feeling through the simple act of watching. I became fascinated by the real dance marathons that inspired the film, where people pushed themselves to physical and emotional limits, while audiences watched their suffering as entertainment. These marathons have been described as early influences on performance art, where the artist's own body becomes the artwork itself, sometimes placing themselves in situations of genuine physical or emotional risk.  

As the work developed over the years, we began recognising how these marathons can reflect similar forms of human exploitation in the present day in the form of reality TV, social media and filming of strangers in public settings. When we partake in these things, we are not just watching, we are giving value to that spectacle, participating in another person’s experience and vulnerability.

I have now lived in Mparntwe for almost ten years, and feel incredibly privileged to live, create and dance on Arrernte Country, a place with a long history of rich artistic and dance practices. Living here has profoundly shaped the way I think, make work and understand the world. The vast majority of the dreaming, unpacking and cracking open of Public Property happened here and I feel continually inspired and held by this community. I am honoured to share this work firstly here in Mparntwe, with and for the community who has played such an important role in bringing it to life.

This work was built through a deeply collaborative process. Through improvisation and shared experimentation, the entire creative team brought their own experiences and perspectives to the work and I’m so humbled and grateful for their generosity, support and incredible artistic offerings and contributions. I absolutely couldn’t have done it without them! Big love and thanks to the initial co-conspirators Frankie Snowdon, Katina Olsen, Erica McCalman and Ping Flynn, previous contributors Samakshi Sidhu and Serina Pech and to the current creative team bringing the work to life for you today.  

Hope you enjoy the Desert Hothouse experience!

Maddy x