It is wonderful to be back in touch with acclaimed and prolific choreographer Hanna Kiel, this time to discuss her company, Human Body Expression’s new documentary film work But Then Again. The film documents contemporary dance’s current struggle to survive in times of uncertainty. It is choreographed by Kiel and performed by an impressive cast of intergenerational Canadian artists: Ryan Lee, Bonnie Kim, Darryl C. Tracy, Susie Burpee, Pulga Muchochoma, Oriah Wiersma, Kendra Epik, and 11-year-old dancer Eva Teece-Soter. But Then Again will premiere online July 28 – 31, 2022, as part of DanceWorks’ Moving Online series.
But Then Again documents the journey of a dance project and its struggle for survival during a globally uncertain time. Through constant cancellations and a transition from live performance to film, But Then Again explores transformation through artists’ work and adapting to ongoing change.
The Dora Mavor Moore Award winning Kiel is the Artistic Director and Founder of Human Body Expression. She has presented her work at 12 Minutes Max, PlanB Singles and solos Festival, Dancing on the Edge Festival and Pulse at the Scotiabank Dance Centre in Vancouver. She joined us for a chat ahead of the film’s premiere with insights into the inception of the work, the primacy and universality of movement as expression and connection, and how But Then Again’s themes of change, grief and acceptance in times of uncertainty transcend dance to resonate across disciplines and generations.
SM: Let’s start with you. Please tell us a little bit about you and why you chose to pursue a life and career in dance.
HK: My name is Hanna Kiel. I was born and raised in South Korea and moved to Vancouver in 1996 then moved to Toronto in 2008. Growing up, I thought I would become a screenwriter or film director. I started dancing when I was 18 and I was more interested in making dance than performing it. I define myself as a storyteller and at this point I’m using movement to express my story. I choose dance to tell a story because I love how movement makes room for audiences to interpret the story in their own way and at the same time, feel connected to the story. I believe movement is a universal language that doesn’t need a translator – it’s also our very first language. It is a powerful tool to engage with other people.
SM: Could you tell us about But Then Again, the inspiration behind it, and give us a glimpse into your process for choreographing the piece?
HK: But Then Again was originally a live dance piece called Again. This piece is about the journey of finding the meaning of unconditional love through the death of a young child. It has 9 dancers who are of different ages and backgrounds. Again has a very unique journey. It was supposed to be on stage in February 2021 but the show was cancelled when COVID-19 hit the world. DanceWorks (our presenter), and I decided to create a dance film introducing the characters of Again instead.
Our plan was to present the film in 2021 then perform the work in live theatre in February 2022. But Omicron hit us in 2022, and we had to cancel the show. Before even feeling disappointed, I thought we needed to document what happened to this project. We have a large cast (9 dancers and 5 musicians) and our youngest cast member was 11 years old when we started the project (they are now 13). We thought that it was important to document the journey of Again and how we pivoted and moved forward in the middle of unexpected turns and challenges. But Then Again is all about living through this moment in order to survive and keep the arts alive. This film is about today, but it’s for tomorrow’s artists.
SM: I’m struck by the title of the dance film. What would you like us to know about the significance of this title?
HK: Haha. It’s very simple. This is a film about a project that was cancelled twice but will find a way to stay alive. I’m terrible at coming up with a title for my own work. So, I asked for help from DanceWorks – Catherine Romano (Manager, Education & Outreach) came up with few options and this was my pick. Thanks Catherine!
SM: Does the presentation of the work on film, as opposed to the stage, require a change in the way it is danced?
HK: Yes! The film is not about the dance work itself. It is about the journey of the work. So the dances in this film are unfinished. Audiences will still see the dance but the dances in this film have a different purpose. It is a part of the story but not the main thing. The main thing is our story.
SM: The digital presentation of But Then Again means that families can watch it together. Is this what you hope will happen?
HK: Yes. I think anyone can relate to this film. All our pain and challenges through the global pandemic were not only for a few countries; it was everywhere and continues to linger.
SM: What would you like us to know about the musical aspect of this show and the eight (it’s 9 dancers) artists who will be dancing the work?
HK: Originally, my vision was setting the dance in a more abstract way but the lyrics of the music are telling a story. We have a singer (Frances Miller) who wrote the songs beautifully to deliver the storyline. Her lyrics are sometimes direct and sometimes metaphoric. In this film, you will hear all of the music written by Pouya Hamidi and Frances. The music will set the mood, and the lyrics will give way to the story in the dance scene.
SM: I was taken with the description of the work in the press release: “But Then Again documents the journey of a dance project and its struggle for survival during a historical, trying time. Through constant cancellations and a transition from live performance to film, But Then Again explores transformation through artists’ work, and adapting to ongoing change.” Two questions come to mind when I read it: How is this idea of transformation reflected in your work now that we are back to live performance?
HK: I think it’s all about the moment and the incident. Now I’m thinking Again was meant to be a film work. Now I don’t see this work in live performance – maybe that will be a few years from now. I’m ready to create live performances but also would like to explore film more.
SM: Do you feel a sense of optimism, or has the idea of change become a constant theme informing your work?
HK: It definitely opened my eyes and at the same time it taught me to always be ready for anything. As a live performance artist, I’m always ready for unexpected things – dancer injuries, budget cuts, costume drama in the middle of the show, sound system accidents and much more. But I have never had to cancel the show in my 25 years of professional career. This has been the biggest test as the leader of an organization and a director. I’m an optimistic person, but I don’t know how performing arts will be affected by this. It will change how we plan the next show, how we work and how we watch the show. But I believe that we will find a way to keep creating art and connect and engage with each other through the arts.
SM: What do you expect from the audience who watch the film?
HK: We lost shows but this can also be about someone losing a job, home, business or loved one. It’s a global loss, and we are surviving and moving forward from it. We hope audiences feel connected to our story in their own way.
Reserve tickets for But Then Again on danceworks.ca.
© Arpita Ghosal, SesayArts Magazine, 2022
