I AM KALI Goddess of Time Change & Transformation

When I recently rediscovered the ‘Girl in Suitcase’ script from 2015, two of Ursula‘s poems in particular stood out. When we performed the show, on neither occasion was I Kali’s face/front person so I never had those lines, though I did make a recording at the time but I can’t remember if we used it. It would only have been if whoever was at the front – Ursula or Lidia – felt more comfortable with it than learning the lines or reading them. I really loved saying the words! They are so powerful. So I asked Ursula if she’d like to make a recording now or if she minded if I did. She’s busy with other projects, but she was happy for me to. This is ‘Kali’ performed by me on Saturday in Ladywell Cemetery close to where I live. You will need the sound on to hear the poem!

It took a while to get the right voice, which I added at home. That rich, timeless, reverberant, almost musical intensity; had to be right for a goddess, especially since I was overlaying the voice on to the video. She/I am speaking with my mind. I wanted to focus on being her, as in embodying her, and in particular using my face to express her. I hadn’t learnt the lines so I didn’t want to be distracted by trying to remember them. Also there were people about, so it was one thing dressed down to my tights wearing blood on my face waving my arms around in front of a tree pulling silly faces; if I’d been shouting manically on top of that, we might have attracted too much attention!

When it came to adding the voice, I realised I wanted to slow the video down about 50%. When we’d shot it, I hadn’t been consciously thinking of the order of the lines; I was just moving my face as I felt like in the moment. So then I had to work out when to start speaking so the lines best fit the expressions. I think that worked out quite well, but it would be cool to do it whilst saying the lines live, or to have the lines playing while I filmed my face.

In any case, this was a last minute production where I seized the day – suddenly thought of a simple idea and made the most of Steve being around and us both being free. Not much time to prepare. I literally grabbed the blood from the fridge and said let’s go. On the way to Ladywell Fields, Steve said I think the cemetery would be better, fewer people. And he was right. The cemetery is always quieter, and has a fantastic, atmospheric ambience.

Nevertheless there were some people about and there was a bit of waiting for folk to get out of shot, or kids to stop shrieking, or a motorbike to clear off. Finding the best location within the cemetery was firstly about a quiet spot unlikely to be disturbed, and with the right background. On a grassy clearing, I saw the tree and thought that’s it. We’d discussed how ideally we’d have another person to help make Kali arms behind me, but what were the chances when we didn’t have much time? I’d thought about putting my hands around my face to accentuate them in striking ways as an alternative to having more hands and arms. We’re not proficient in video editing to the point of overlaying extra arms… The tree presented a shape with short “arms” at about the right height and length to create an idea of extra arms. It seemed a natural alignment.

A word on microbes. This hadn’t even crossed my mind, however the blood I used is months old – it’s a composite from several periods and some of it may be over a year old. As I was applying the blood to my face some drops went in my mouth. I wasn’t bothered, but Steve quickly said, “Don’t drink it, spit it out, and don’t let it get in your eye, because the microbes could kill you!” I thought that sounds a bit over-dramatic and didn’t pay too much attention. I just think what came out of my womb will be healing, no matter how old! That’s confidence, or madness, not sure. What I’m saying is, don’t do this at home kids! Or if you do, use fresh blood. That would be safer. I did notice that after I’d washed the blood off, some staining wouldn’t go away for the rest of the day, even if I washed it again. It looked like I might have a rash. It was fine the next day, and part of me wondered if such a thing could even be good for the skin, like a scrub or a facial… not that I’m thinking of trying that. Just saying who knows. They could be good microbes!

Goddess in Suitcase; part 1

Making the show for Telegraph Hill festival 2015

I choose itinerant self-employed work as it allows me freedom to be myself and to create. Girl in Suitcase is a theatrical performance art work, which engages the audience to draw the spectacle (and participate in further ways). I love making my own work and all the mistakes that go with it. The space, time and energy I take to create is sacred for me.

As a life model I am paid to please others primarily (though I enjoy it too), for their specifications. With Spirited Bodies I create a space for others to develop within (naturally the benefit is mutual). With Girl in Suitcase, while I am not without consideration for the audience, I am mainly doing the work for myself as well as the others involved, and for now (what is wonderful is) without worrying about selling tickets. If there is a very small audience that’s fine. The show is always a work in progress and without funding, it is subject to severe limitations. And yet, there is an unknown magic waiting to take place during the spectacle in the hearts and minds of all present. The unknown of what is Live, full of real life.

I enjoy the process immensely and like to work with friends. Earlier versions of the show, from 2011 – 2014 were autobiographical, about mine and my Mother’s life and were sometimes one or two women shows. The recent show began its life with my friend Sylvie Rouhani and I wanting to make a performance relating to the cycle of the moon, and the ages of woman, or different phases of a woman’s life. I was ready to depart from the personal, and expand into the more universal, and that was a wonderful feeling, like I’d completed some sort of performance therapy phase.

My friend Lucy Saunders had given me a book for Christmas – ‘The Alphabet Versus the Goddess’ by Leonard Shlain, and I was blown away by its feminist take on history and literacy. That inspired me to look at the ages of woman, through history – Goddess culture of the further past, and subsequent lower status of women since the Judeo-Christian-Islamic takeover. We started plotting the structure and themes in January and formulating the script in February. Sylvie was going through some upheaval in her life and could not continue with the show in March, so I asked Ursula Troche and Sabine Zollner to join me. The show was completed in the 3 weeks prior to performance with minimal rehearsals, but some new written and movement material from Ursula and Sabine.

Ursula Troche

Ursula Troche

While the process felt fractured and pressured towards the end, the show benefitted from being the product of 4 women finally, and I hope each of the women gained too. With Sabine’s belly dancing Isis, and Ursula’s call-to-arms poetry, we added to Sylvie’s powerful words. I also wrote parts as well as choreographed, directed and edited.

Isis has an incredible costume (with enormous wings!) and sensual dance which brought a new level of spectacle. Here are some words from Sabine about her involvement in the show;

“I called Esther on a Saturday early March and found her in distress. She told me that the lady she worked with on the third version of her play – Girl In Suitcase – had just let her know she could not continue to work on it, but the performance date was already set – for 3 weeks later.

I had seen the first version of GIS in March 2014 but had missed the second performance where the play had developed further.
I knew Esther was working on a third version and that it was emerging from a one woman show to something else, involving the moon and poems and getting less abstract than before but more related to life models, female feelings and divine figures.
I asked more questions during our phone conversation and discovered that some things appeared like déjà-vues to me: the goddesses Isis and Artemis whom she mentioned had crossed my path before and I was particularly intrigued by the Egyptian Isis of whom I had a clear picture in my head without knowing what exactly she was about at that point. Everything seemed very obvious when Esther explained she hadn’t thought about costumes yet and I remembered a belly dance performance called ‘Isis dance’ I had seen 20 years ago.
I said I had some ideas for Isis as I have 2 Egyptian dance costumes and could add a special veil to them, actually called ‘Isis wings’.
I quickly realised that due to the pressing time scale, the roles and the fact that I’d do this with Esther and Ursula whom I had known for a while too was some sort of fate for me to push myself to try performing – something that I always wanted to try. I knew I could perform as a belly dancer (which I had done a long time ago) but never performed spoken lines!
So I offered to step in.
Said and done we had only two rehearsal dates which made clear that there had to be some improvisation.
I went through my oriental music, let Esther pick the pieces she liked best and then did a very loose choreography on them.
My first lines as Isis were single words – a sequence of unrelated nouns. Esther let me invent movements for these which was relatively easy compared to speaking them out loud.
There was also a short exchange of words between Isis and Mother Mary and I found myself keen to make this scene funny and entertaining.
I think I always liked to make people laugh.
So the day of the performance came and I was not very nervous at all. I knew the space and as people were drawing I knew how they felt as I draw a lot myself.
I also liked my outfit very much – my friend gave me a hair piece and with some help my chest had temporarily grown to quite an impressive size. I also re-discovered heavy eyeliner from a long time ago (which I haven’t abandoned after the play since).
I deeply enjoyed being in the play and as I was one with my role and within our group of three I couldn’t feel more comfortable.
Afterwards, someone asked me if I wanted to model for him which was rewarding and the artwork that was produced was superb.
I met more than one person whom I knew from before but who hadn’t recognised me which made me think that I must look very different “in real life”. I don’t feel different though. Some food for thought.
The least comfortable part was probably seeing the photos and video footage of the evening for the first time. I am very critical with myself – especially as I am not a professional dancer and far from being an actor. However, it was maybe alright. But I also understood that the footage doesn’t matter too much.
The magic of theatre is very closely related to the moment of the performance and everything that goes with it – the energy of the performers and the audience and how they interact. After the play it is over and if it is performed another time these dynamics could be of completely different nature.
And I was glad to have been part of this.”

Kate Tempest & The Brand New Ancients

Billy Bragg + Sound of Rum - Sun 13 November 2...

Billy Bragg + Sound of Rum – Sun 13 November 2011 -0099 (Photo credit: The Queen’s Hall)

Kate Tempest poured wisdom in street tales of ordinary folks struggling, loving and dying in our monstrous every day world. At 26 she has a gift for slicing through character.

Her delivery is understated, her accent could have been affected but it works for her act, and she did tell stories beautifully. Her timing was accentuated by a 4 piece ensemble of musicians emoting her messages, backing her characters. We followed the narrative and sometimes she rapped with a mic, striding the stage. She looks like a child disarming with her wit, unbothered by her appearance, very casual, long curly blond hair.

It kept coming back, the theme of being real in a world obsessed by airbrushing and status – how we bow to that instead of to real people, each other. Kate captured that, by dissecting the mind of a bar maid, the true friendship between hardened criminals and other flawed ordinaries, with poetry. I didn’t cry but I almost did. Nothing in particular really. Just her general knack for teasing something about my heart. I smiled at her a lot, so glad for her talent to shine and inspire others. She can affect people and gave me shivers – that counts.

Brand New Ancients celebrates everyday heroes that we all are; surviving today, and sees the best in each and every ugly one of us, because nothing is black and white.

A matinee audience of school children applauded.

“Thing is, you’re perfect. Because of your imperfections.”

“25 is halfway between non-existence and the infinite.”

Lives of certain individuals from uncouth beginnings, random encounters, climactic violence between the afflicted, addicted and broken; to a moment of heroism and realisation. An old codger dies in Thailand not quite happy with his bride.

“The gods are right here, as farfetched as it sounds, every one’s a god, no kings, no crowns
Just us, one being, infinity, that’s holy, gods messed up lonely
Squashed stressed out dumbed down raging wasted same as it ever was
Brand new ancients”

Double Exposure: Meeting my Match!

Stoke Nudington, Nude York or NuDelhi; this Summer is about stripping off.

Ursula had tried to contact me about modelling with Spirited Bodies – she is a life model, artist and performance poet. I had clearly been busy. Serendipity lined us up however as Ron double booked us yesterday and we got networking in the nude. The Portobello artists had a rare treat!

Carol finds the Henry Moore in us

getting comfy

A beautiful occasion we wanted to remember; a most auspicious meeting!

I found Ursula very relaxed and open, it was easy to feel cosy together straight away

We chatted a bit in pose, and got to planning some nude action!

It was wonderful to have some of that experience models at Spirited Bodies get through sudden yet somehow natural intimacy

The stillness and relative quiet sort of make up for what might otherwise feel unnatural, i.e. those conditions give you a chance to breathe and settle with the new company so close and nude

quick pose by Mike Down

Felt tip colour by Mike

Check out Ursula performing:

And here is one of her poems:

Poetry Extravaganza
Poetry Extravaganza
I write verse by verse
Stanza by stanza
I write to be free
I write to be me
Poetry for self-exploration
Words for my expression
Every letter
A part of the puzzle
That put the words together
Which make up the picture
Of what I want to say
Of what I feel
Deep down inside my soul
Of what I know by intuition
Of my work which comes to fruition
Poetry extravaganza
I write verse by verse
Stanza by stanza
Now what is my intention?
What is the purpose of my exploration?
To talk about some secrets of my soul
To communicate the depth within us
To make us remember our dreams
And what we wish for
What we desire, long and yearn for
And what we know
And how we can live in unity
How we can live happily and be free
Poetry extravaganza
Word for word
Sentence by sentence
Line by line
We write our liberation
With letters and punctuation
And recite them with intention
We sing
Verse by verse
Stanza by stanza
Poetry extra
Poetry extravaganza
Chapter and verse
Each chapter a verse
We write
Verse by verse
Stanza by stanza
Poetry
Extra-vaganza! © Ursula troche, 5. 2011