Dancing Cappaghglass

Cappaghglass by Emma Jervis 1

When you love the place you live in – really love it, in your bones and your heart, how do you express that? How do you convey to others the feeling of waking to the sun rising over Roaringwater Bay and sinking back into the sea behind Long Island after a day of sparkling colour and rural rhythms? How do you represent the sense of coming home after a lifetime of being an emigrant? How to talk about what persists of the Ireland of your youth and what has changed irrevocably, for better or ill?

Fields of Cappaghglass

The green fields of Cappaghglass in evening winter sunlight

I suppose, like the Bee Gees I would turn to words, but Tara Brandel took on that challenge with Cappaghglass, her final piece of choreography and dance performance at the end of her two year residency at Uillinn, the West Cork Arts Centre.

Reaching

I’ve written about Tara’s dance performances before – her Bridge two years ago in Ballydehob left us speechless and profoundly moved. She has performed numerous pieces in the meantime as part of her Uillinn residency, sometimes solo and sometimes with her company, Chroí Glan. This dance has been gestating all that time.

Mining area

Mine houses and a fenced-off shaft – echoes of mining heritage

Cappaghglass*, where Tara lives and where we also are currently putting down roots, is undoubtedly beautiful, peaceful, pastoral and scenic. In the past it was also heavily industrial, with 400 tons of copper mined every year, and a population of several hundred people. It had a ‘Big House’ and a hotel: no traces remain of either. It had a dozen farms: now there are two. There are twenty homes in the townland – and another twenty holiday homes that remain empty most of the time.

Cappaghglass by Emma Jervis 2

I gratefully acknowledge Emma Jervis, whose photograph this is, along with the first one in the post

Tara danced it all for us. We watched as she explores her environment as a child, then takes the first tentative steps to leave. Buffeted by the world, she returns to the freedom and the green fields, and always the sea heaves in the background and the Fastnet Light turns on the horizon. She switches effortlessly, with a twitch of a scarf and body movements, from a young, then an old Irish woman to a Syrian refugee, inviting us to consider the experiences of displacement, migration, loss and belonging.

Road through Cappaghglass

The high road through Cappaghglass

Her body speaks to us, but she also uses words and song. She sings – simple repetitive chants – and uses technology to loop the sound so it repeats. Then she records a further piece and then another, and so layers of sound start to build and this provides the music to which she dances.

Gorse Tree

Visual layers are added – projections on the wall of a map, the sea, waving grass, and finally the Fastnet Light.

Fastnet in the sunset

Tara’s dancing is athletic and graceful. Her hands assume critical importance in conveying action and emotion. Clothing is donned and shed in a shorthand for identity.

Clothing is used

In  a final brilliant move she approaches the barre, over which is draped heaps of material. Reaching into the mass of cloth she ties two lengths around her waist and moves towards us. It is then we understand, as the material slowly slides away from the barre and follows her in an enormous train, that this is Cappaghglass – the whole townland spread out behind her, claiming her, rooting her, her home, her place.

townland train

We  walked the townland today in the fading light of late afternoon and we saw it afresh. Like Tara, like so many people, we have experienced migration and displacement. But this is home now and we find it rare and precious.

Ruined ivy-clad houses and the traces of tiny fields hint at families for whom this was home

Only art has the ability to reach down into you and clutch at your soul and make you think and feel in ways you haven’t thought and felt before. Tara did that for us with her dance. We are grateful for her gift.

Cappaghglass sunset*Cappaghglass, in Irish pronounced cappa gloss = the Green Tillage Fields

10 thoughts

  1. You write with sensitive passion about the power of Tara’s talents and storytelling. Reading your review conjures up a marriage of arts, of heritage recognised and explored, of yearning and reconciliation. Her performance sounds very special Finola. Cappaghglass is laid bare and raised high above heads in celebration. I wish I had seen it too. It is a precious corner of ‘Home’ for you now, RoaringWater and the turn of each season…Thank you for letting us in 💕💕☘️☘️☘️

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  2. Your writing, telling us the story of the beautiful place where you have now put down your roots is touching and reaches into the soul of others who have been migrants, like myself. You writing is beautiful. I too have seen Tara dance, she is totally expressive and tells her story so well. I’m the better for having read your blog entry here tonight, and thank you.

    Liked by 1 person

  3. My word…your description and narrative is powerfully evocative. Was the performance captured on video? I look forward to each Sunday evening’s publication… This one was powerful.

    Could have done with your writing when I was at CoisCeim.

    Barney

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