Susan Sentler

School Of Dance & Theatre
Lasalle College Of The Arts, Singapore

Susan Sentler is a dance maker/artist working as a choreographer, teacher, researcher, director, dramaturge and performer. She served as a Senior Lecturer at Trinity Laban Conservatoire of Music and Dance for 18 years and has taught globally in the field of dance for over 30 years. She has an ongoing collaboration with Dr. Glenna Batson on varied avenues of imagery research. This interest in somatic practices and imagery underpins her pedagogic and overall artistic vision. As performer she danced with the Martha Graham Ensemble, and in recent years has returned to performing in works of artists such as Tino Sehgal, Xavier le Roy and Jerome Bel (with the Candoco Dance Company) for his work The Show Must Go On with the 2015 UK tour as well as within the Festival d’Automne à Paris 2017. Susan’s practice is eclectic and multidisciplinary with a distinct focus on site specific, gallery, and museum contexts. Within these sites she creates ‘responses’ to specific visual art works and exhibitions as well as durational installations using objects, sound, moving/still image, and absence/ presence of the performing body. Her work has been exhibited and performed in the UK, USA, Netherlands, Italy, Portugal, Ireland and Singapore. In 2013 Susan earned a Masters in Creative Practice, professional practice pathway, awarded by Trinity Laban in collaboration with Independent Dance in London/UK. Currently she is a lecturer of dance at LASALLE College of the Arts in Singapore.

A 360-Degree Choreographic Dialogue: Readdressing The Dancing Body In And Beyond The Frame

Working in choreographic practice for many years, I have honed a specific interest in site-specific, gallery, and museum contexts as well as a personal artistic practice that combines the live performing body with that of the moving and still image. Thus I was drawn immediately to collaborating with Dr. Elke Reinhuber on her film project focused on the NTU Yunnan Garden, engaging a sensorial experience for the viewer by highlighting the garden’s spatial identity through a conversation with the performing body and gestures.
In this talk I will un-pick the preparatory work as well as the on-site choreographic choice making that was needed within the creating of Secret Detours. The challenges of working with the specificity of the 360-degree video making yielded limitations that pushed not only my scope of dance choreographic creativity but also the overall collaborative dialogue that emerged.
Resonating in thoughts by the cultural theorist Erin Manning within extracts from ‘Dancing the Virtual’, 2010:

‘It is by reinventing the ground that a dancing technicity will be produced… Find new techniques for activating new relations between the organic and the mechanical. Hone those techniques while remembering that we do not yet know what a body can do.’ (Dance: Whitechapel Documents of Contemporary Art, 2012)