About Imogen Cranna

Imogen is a multi­disciplinary artist. In 2009, she joined youMove Company, and has had the opportunity to work as a dancer with both established and emerging Australian choreographers such as Kay Armstrong, Emma Saunders, Anton, Tony Osborne, Ian Colless and Sarah Vyne­Vassallo. Following her desire to create hybrid art with the interactive media program, I​sadora,​Imogen held an artist residency with Eramboo Artist Environment from 2009 to 2012. In 2010, her multimedia work T​yche a​ppeared in the Sydney Fringe Festival as part of the triple bill, T​hree Steps Towards. I​n 2012, Imogen toured nationally as the new media artist on Vicki Van Hout’s critically acclaimed production B​riwyant​and in 2013, she collaborated as both a performer and media artist for The Living Room Theatre's premiere of Michelle St Anne's award winning theatre work, I​Love Todd Sampson. S​he also appeared in her own work, w​Itness bench,​as part of AIOP/Australia/2013 and presented ĭ​n­dwĕl′ f​or Dance Meets Music, 2014. Most recently, Imogen collaborated as composer and media artist for Cloé Fournier's full length work, D​ining [Uns]­Table, a​nd presented a public interactive sound installation entitled "p​lay", ​for Enliven Pittwater.

WiTNESS: if the computer is in control, will it remain ambivalent?

Ed: Imogen Cranna had a one week full time Curated Residency at QL2 Dance in April

In 2012, I had the incredible opportunity to work with Tony Osborne who created a solo work, Palimpsest, for me to perform during youMove Company’s season, tenofus. It was during our rehearsals that a persistent idea formed in my mind and after three years of dreaming and testing various aspects surrounding the concept, I have finally been able to realise a major part of it in the QL2 Theatre.

I am fascinated by the organic way in which movement is generated when someone is dancing in an authentic state with their eyes closed. Authentic Movement (AM) can be traced back to the 1950s and was started by Mary Starks Whitehouse, who said “When the movement was simple and inevitable, not to be changed no matter how limited or partial, it became what I called ‘authentic’ – it could be recognized as genuine, belonging to that person.”*  I think it is that element of truth and existing in the moment that captures my imagination, both as a dancer and as a witness to an authentic movement session. I have also observed how viewers are drawn into the dancers’ personal world, as the sensory movement that occurs can be hypnotic and akin to watching the shimmer of light on water or clouds moving across the sky.

This slideshow requires JavaScript.

Continue reading