As you moved forward, were there any particular people who influenced you?
It is really hard to say as I had worked with so many different choreographers, that I really couldn’t pinpoint one particular influence. When I look at my work now I can see how everything has come together. I think I create a mix of dancing and dance theatre. I used to think I had to choose one side or the other. But I think it’s all important to me and it all finds a place.
That means I’m interested in the movements, the shapes, and the design of the bodies visually, and I’m equally interested in the performers and their expression. So there’s room for a rawness which can be charged and quite dramatic, or maybe the simplicity of everyday movement, and being just ordinary.
I would say that improvisation as a source for movement featured in many choreographers’ methods when I was a dancer. I use that a lot myself to generate movement and ask questions of the topic. Things crop up that you can’t plan and that’s the beauty of improvisation.
What themes did you investigate when you were producing your own work?
I tend to start with something that interests me, usually people. I am always drawn to something human. Even if I start with something abstract, it has to mean something. I often work from stories or experiences. Not to retell the story but capture the essence or flavour of it. My work tends to include some sort of metaphor, either in imagery or action. I like it when things happen visually that really connect with the viewer. I want to produce work where the movement means something.
I would say I am always attracted to the human story beneath everything. Now, I should say that you don’t always get to pick. Sometimes you are given a brief so that the parameters are already set for a piece of work. But I still find that you can put your own heart and into everything you do.
You are setting up a new company. So where are you headed now?
I set up a company called Green Light Dance Company Towards the end of 2021. I wanted to produce more of my own work and not just rely on commissions. I also wanted to bring other independent artists along with me and offer support to them. It’s quite hard to develop your practice without such support.
As I’ve got a bit older, I have become more interested in the coaching side and mentoring side of things. With my experience as a dancer, choreographer, teacher and rehearsal director, it seemed to make sense to bring those areas together and try to support others, and develop my career in that direction. The professional dance scene in Northern Ireland is, let’s say, a bit ‘undernourished’, when I compare it to other places I’ve lived. I think there’s a real need for professional development which I would like to be available through the company. I like the idea of artists being able to work for the company but not just produce something for a show, they would actually have the support for what can be a lonely process. I think artists at all stages of their career appreciate that.
The first year involved some workshop teaching, masterclasses and a commission. Also a lot of figuring stuff out. There’s a lot of admin so I have to take it slow and get help otherwise I might get overwhelmed. This year things are getting really exciting because after several funding applications, many of which led to nothing, we finally have the support from both the Arts Council and Belfast City Council, to produce a double bill this November. I will be reworking a trio called ‘Allies’ and I’ve invited Helen Hall to create a solo. The show will have the promotional support of the Belfast International Arts Festival which is amazing. And that will happen on November 4th this year at the Crescent Arts Centre. This comes after much dreaming, planning, conversations and rather gruelling funding applications, and it will be really exciting.
If you would like to learn more about the work of Suzannah McCreight please click on the following link – www.greenlightdancecompany.org