In David Bolger’s most recent piece, ‘Palimpsest’, the title doesn’t merely serve as a quick description of the content. Instead, it penetrates deeply into both the theme and methodology of the choreographer’s work. Typically, a palimpsest refers to an item repurposed for a new use – akin to a manuscript being cleaned and rewritten. Though the older layers are covered and faint, they never truly disappear.
With ‘Palimpsest’, Bolger has crafted a dance drawing from elements of Ireland’s social and political past, providing a nuanced perspective on the Republic’s first century. He investigates the ways historical events have shaped our current identity, questioning whether traces of the past remain within our present.
Upon entering the performance space, audiences walk past boxes marked as costumes and props from previous CoisCéim productions, thereby adding further thematic layers to the performance. These boxes conjure memories of their 2000 duet ‘Boxes’- a jovial tribute to cardboard. The TV screen closely resembles that of ‘Uncle Ray’, and one might even recognise the small piles of earth and suitcases from ‘Did Ballads’, a dance piece about the famine. Elements from other dances like ‘Heartbeat of Home’ and ‘Knots’ are integrated too.
In a similar vein, historical moments are invoked. The notorious broadcast of Taoiseach Charles Haughey cautioning about living beyond our means is paired with dancers flaunting racehorse saddles, brandishing champagne and measuring Charvet shirts. A recital of Eavan Boland’s poem ‘Our Future Will Become the Past of Other Women’ by Máire Ní Ghráinne, along with the projection of suffragette names on the floor, reminds the audience of more uplifting and enduring political legacies.
In presentations laden with photos and films, physical expression reigns supreme. It vividly depicts Derry’s Bloody Sunday victims in vehement angst and terror, the wave of enforced migration with a hint of indifference, as well as the unabashed revelry of the Celtic Tiger era.
An amusing interruption to the festivities occurs with Ní Ghráinne’s portrayal of Margaret O’Donoghue, more commonly known as Maggie with the Crucifix. A once omnipresent figure on Dublin’s streets, Maggie was always garbed in black and adorned with a beret and cross. A solo by Justine Cooper follows, drawing inspiration from the antics of Mary Dunne, famously known as Dancing Mary, who graced O’Connell Street with her singing and dancing.
These communal and personal recollections are showcased devoid of a storyline or timeline: Bolger is content to permit each audience member to shape unique interpretations. Yet, his impassivity has limits. Outrage underscores the duet performance by Alex O’Neill and Mateusz Szczerek in response to the chatter from Anglo Irish Bank executives about multi-billion euro losses with nonchalance.
Bolger attributes the creation of ‘Palimpsest’ to the collaboratively written art by more than 50 artists and technicians, with Denis Clohessy’s mutable score as a standout feature. ‘Palimpsest’ is on show at the Complex, Dublin 7, until March 23rd as a feature of St. Patrick’s Festival.