This residency was the first opportunity I had to practically explore the theoretical ideas I have been developing for my next piece of work, a solo Hip Hop dance theatre performance dealing with the theme of coercive control. Using the research I have been doing into coercive control, I have devised practical tasks based around this theme in order to develop movement phrases. This paired well with the theme of the residency, “Persevere”, as statistics show that women will leave an abusive relationship an average of 7 times before leaving for good, and that this stage of leaving is the most dangerous point in the relationship. Coercive control is a pattern of behaviour which seeks to take away the victim’s freedom and sense of self through demands, threats and surveillance. Tactics used by perpetrators include:
Moving the goalposts
Changing the rules
Gaslighting
Limiting space for action
Gaslighting is defined as intentional twisting of perception of reality, making the victim question and doubt their sanity. Perpetrators of coercive control have their own set of rules that are unknown to the victim, which they enforce and change without warning. Once the victim feels they know the rules, the perpetrator will change them, without notice. Moving the goalposts is a way of keeping the victim confused and walking on eggshells. Limiting space for action is another tactic which aims to make the victim’s world smaller, by limiting freedom to say and do things and to meet their own needs without worry or fear. I explored these tactics in a physical manner, using cushions that were in the space as ‘goalposts’. I devised a pattern of movement, and repeated this with the ‘goalposts’ getting in the way, my space for action was limited. I played with this movement until I felt like it came to a natural end, then I devised another pattern of movement that was more complicated and physically more difficult. Although it seemed like I was starting from the beginning with the second pattern, with the cushions being in almost the same position, I was actually restarting from a place of disadvantage: I was already tired, disoriented and what I had to do now was much more difficult.
As I proceeded, the movement changed, as well as the pattern. No matter how hard I tried to keep to the pattern, I could not, and I could not predict when it would have to change. I was following the cushions, second guessing where they would land and always watching what I was doing. In this way, my movement complied with the location of the cushions.
Having the space and the time to explore these tasks was invaluable to the development of my piece. As a result of this residency I have many more ideas on how to proceed.