My investigations in dance stem from how an audience views a dancing body through their construction of narrative. GOLDEN will setup parameters for a narrative to exist in, but will not necessarily decide what the narrative shall be.

It searched for a UTOPIA

                                                                        It is not about nothing.

I allude to this narrative through movement and it's relationship to the constructed sonic and lit space.

A Starting Point: freedom, privacy and how people choose to articulate and project themselves, and then how others read that information.                             

People portray themselves differently depending on the situation.

                                                                                                                                                                                                     Like now. They can play between reality and unreality. The private and public selves.

GOLDEN is a work that will really be about sense and perception motivated by the creation of theatrical

spaces              where action occurs that can be read in multiple ways.   

                                                     Anyone can offer different versions  of themselves        

                                  GOLDEN will slip between worlds, time and light.

ps: The unrealised project, GOLDEN submitted to : Agency for Unrealised Projects, (AUP). Planned exhibit, Basel, June 2011.  Concept devised by Julieta Aranda, Hans Ulrich Obrist, Julia Peyton-Jones and Anton Vidokle in collaboration with the Serpentine Gallery, London. “The unrealised artist project gets hold of the slippery conditional past tense: an event that did not actually occur but could have taken place.” http://aup.serpentinegallery.org/

GOLDEN Personnel:

Deanne Butterworth- choreographer/performer

Rebecca Jensen- performer

Rose Connors Dance- lighting designer

Michael Munson- sound designer

GOLDEN has been planned since early 2010 with support and funding in place from a number of sources. However, one part of the complex funding web is not in place therefore the whole structure falls apart and the project floats in somewhat of a limbo until another round of applications are submitted and possibly unsuccessful. Until that time it sits in the minds of the collaborators, developing and shifting and becoming an imagined finished project. The possibilities are endless. In reality, it does not exist and perhaps this cycle of starting, developing, realising something then realising nothing has actually happened is just a part of the cycle of thinking about what to do next.