1. Charlie Morrissey

        • Arts Council Funding for Wainsgate Dances

          Charlie has received funding from Arts Council England for a programme of dance at Wainsgate Chapel in Yorkshire.

          The funding supports a programme that includes residencies, workshops, open practice sessions and lots more besides. 

          Follow Wainsgate Dances on Facebook and Instagram

        • Remote residency at iC4C - Dance 4

          Charlie has been working on a new project – Everywhere Here, Always Now in a virtual residency supported by Dance 4 – He should have been in Nottingham, but instead he’s been in Yorkshire, and so he’s attempted to bring the two places together virtually, and in so doing to create a third place – someplace – no place – a place where different rules of time and space and scale are at play. He’s working with Rob Hopper and playing with layers of film and live action, and trying to understand how to use zoom as a creative tool.

          Charlie will be in actual residence at iC4C later in the year when he will share some of what he’s been doing.

          More here

        • Quarantine Wallflower

          This Spring, Charlie will be joining Quarantine for more performances of  Wallflower

          Can you remember every dance you’ve ever danced?

          Wallflower is a dance marathon, a game that alters according to the players.

          Memories of dancing alone all night at a party; of whirling across the stage at the Paris Opera Ballet; of silently, slowly revolving with a new lover on a canal boat at night; of a repeated tic – a bodily habit that feels like dancing; of walking alongside their mother; of racing with a dog across a beach; of dizzily spinning children; of weeping and dancing; of hitting the mark for Anne Teresa De Keersmaeker….

          Like much of Quarantine’s work, Wallflower serves as a form of portraiture. Each night, the performers choose what they want to reveal, what story of themselves they want to tell. In the seats around the dance floor, the spectators bring their own histories, understanding and expectations. And somewhere between the spotlight and the sidelines, Wallflower happens.

          Wallflower takes two forms, a 90-minute version and a durational version which transforms the performance into an epic, exhausting 5-hour piece – the dancers grappling with the effort of memory as bodies and minds tire, hurt, slow and repeat.

          From the audience a fourth performer documents each dance in an ever-expanding archive, a vast record of thousands of remembered dances, which begins with dances from early rehearsals and always ends with the last dance. To date, it would take over two days to dance them all, and by the time you read this, there may well be hundreds more.