Ashes for Beauty (2017)

Choreographer: Davida Monk
Dancers: Nicole Charlton-Goodbrand, Catherine Hayward, Shayne Johnson, Brandon Maturino, Linnea Swan, Su Lin Tseng
Music: Allan Gordon Bell
Costumes: Angela Dale
Photographer: Tim Nguyen

“Give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness.” Isaiah 61:3

Ashes for Beauty draws its inspiration from two complementary sources: the profound transformations that are central to all human lives, including joy and suffering, and the evocative promptings of the natural world. Using these sources as movement subjects, the work seeks to express the persistent intensity and irrevocable change that is the incarnate experience. It asks the dancer to listen deeply to the inner urge to movement.

“If it is true that the act of theatre can transcend time, then our inner states surely embody our own largest theatre of mind and soul, perpetually immersed in extravagant feeling. Our ever-changing experiences seem to be continually magnified to larger-than-life levels, our emotions carrying us with an exaggerated kinesis through change after intensified change. Monk’s Ashes for Beauty captured how all inner theatre can be a drama of continual movement, always developing, never ceasing, ever becoming.” Stephan Bonfield

Ashes for Beauty (2017)

Choreographer: Davida Monk
Dancers: Nicole Charlton-Goodbrand, Catherine Hayward, Shayne Johnson, Brandon Maturino, Linnea Swan, Su Lin Tseng
Music: Allan Gordon Bell
Costumes: Angela Dale
Photographer: Tim Nguyen

“Give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness.” Isaiah 61:3

Ashes for Beauty draws its inspiration from two complementary sources: the profound transformations that are central to all human lives, including joy and suffering, and the evocative promptings of the natural world. Using these sources as movement subjects, the work seeks to express the persistent intensity and irrevocable change that is the incarnate experience. It asks the dancer to listen deeply to the inner urge to movement.

“If it is true that the act of theatre can transcend time, then our inner states surely embody our own largest theatre of mind and soul, perpetually immersed in extravagant feeling. Our ever-changing experiences seem to be continually magnified to larger-than-life levels, our emotions carrying us with an exaggerated kinesis through change after intensified change. Monk’s Ashes for Beauty captured how all inner theatre can be a drama of continual movement, always developing, never ceasing, ever becoming.” Stephan Bonfield

Ashes for Beauty (2017)

Choreographer: Davida Monk
Dancers: Nicole Charlton-Goodbrand, Catherine Hayward, Shayne Johnson, Brandon Maturino, Linnea Swan, Su Lin Tseng
Music: Allan Gordon Bell
Costumes: Angela Dale
Photographer: Tim Nguyen

“Give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness.” Isaiah 61:3

Ashes for Beauty draws its inspiration from two complementary sources: the profound transformations that are central to all human lives, including joy and suffering, and the evocative promptings of the natural world. Using these sources as movement subjects, the work seeks to express the persistent intensity and irrevocable change that is the incarnate experience. It asks the dancer to listen deeply to the inner urge to movement.

“If it is true that the act of theatre can transcend time, then our inner states surely embody our own largest theatre of mind and soul, perpetually immersed in extravagant feeling. Our ever-changing experiences seem to be continually magnified to larger-than-life levels, our emotions carrying us with an exaggerated kinesis through change after intensified change. Monk’s Ashes for Beauty captured how all inner theatre can be a drama of continual movement, always developing, never ceasing, ever becoming.” Stephan Bonfield