Performances do not always require a theatre stage. Most dramas take place in the home. For them to be appreciated as performances they would only need a good aesthetic slant and a witness.
Often I would roll up the carpet and do a performance for whoever was at home.
For Exorcism I was lucky to have my friend Wilhelm Hahn as the witness, but also one who could take photographs of the event.
Much of what one is able to give spontaneous expression to have to do with how strong a nerve your audience would have. I consider it both a strength and a weakness to ‘navigate’ through the material of dance with a cathartic impact with the ability to sense how far I could stretch my expressions, as well as crossing that boundary with abandon should I feel that the dance steered in the direction of my choice.
Fortunately I had many witnesses who would be able to sit through my creations to the end. Wilhelm Hahn, was an artist friend who was also an architect. He taught his students to do free hand drawing of a model, such as in an art class, so that they would be better capable of designing buildings on the screen – that could actually exist.
Wilhelm was a free spirit out and out, took risks and lived up to their consequences. He was the person who first introduced me to performance art during the 1980’s with a group called Possession Arts, in Johannesburg. See DELTAPARK on this archive.
Here I am performing the crystallisation of my feelings, knowing of his terminal illness. He took numerous photographs and they are all ecstatic presentations of what I felt within his presence allowing myself to traverse the territory between his body, his emotional life, his sense of vibrancy, his depression, and what of those would be called mine – at this time with a shifting boundary that was nowhere to be fixed or to be pretended to be stable.