In the Fire of Conflict (2008)
Wow, 2008 was a busy year!! This week we’re looking at the 5th work to premiere in 2008, In the Fire of Conflict.
Peggy writes: My extensive work with pianist Andrew Burashko and cellist Shauna Rolston – in addition to commissions from the Toronto Symphony Orchestra and Amici Chamber Ensemble, and collaborations with Arraymusic and Art of Time – had aligned me strongly with the classical and new music scenes in Toronto. And I think it must have been the reputation that I gained through that work that led to a commission from the 2008 Toronto Summer Music Festival. Artistic Director Agnes Grossman paired my choreographic commission with a commissioned score by Christos Hatzis for two extraordinary musicians: cellist Denise Djokic and percussionist Ryan Scott. Agnes had chosen a provocative theme for her 2008 program, titling the festival In the Fire of Conflict. Christos chose to work directly with the title and with rising gun violence in Toronto front of mind, he turned to poet Steven Henry (aka Bugsy H.) for text that was delivered as a spoken word recording, essentially rap. Building on the foundation of that recorded performance, Christos composed a riveting score in which the words gave the impression of igniting the sound of the marimba and cello with an explosive force.
The commission was based on the premise that I both choreograph and perform, and although I knew that I was NOT the right dancer for the part, I found the music deeply affecting and didn’t want to pass up the opportunity. The performance was scheduled for early August, and I was spending the month of July at the Banff Centre staging a work for a company of young ballet dancers. With the dance studios fully booked at the times I was free to work on my own, I ended up choreographing in a weight room in the Centre’s gym, listening to the mock-up of the score on headphones. I had just one rehearsal with the musicians, followed just a couple of hours later by our single performance, but the thrilling charge of dancing with the live music threw me into hyperdrive, and I did my utmost to rise to the challenges of the choreography.
I had always hoped that In the Fire of Conflict could be performed by a male dancer with a wild, gritty edge, and in 2013 I was able to secure the massively talented Benjamin Kamino for performances as part of a concert program by my company. By this point, Christos had made a version of the score for percussion and tape that was in the repertoire of acclaimed Canadian percussionist Beverley Johnston, and by a stroke of luck, her busy touring schedule accommodated the dates of my company’s run perfectly. From their first performance together, Ben and Bev embodied the ultimate interpretation of this fierce and intense piece.
